FEATURE: Madonna: For One, For All, For Everybody

FEATURE:

 

Madonna:

 Madonna: For One, For All, For Everybody

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THERE are few who can argue against the notion…

IN THIS PHOTO: Madonna (in 1983) during 'The Lollipop Session' shoot/PHOTO CREDIT: Deborah Feingold

Madonna helped transform music upon her arrival. The reason I am focused on her is that, on 6th October, it will be thirty-five years since her single, Everybody, was released. That was the lead-off track from Madonna's eponymous debut album and a song that helped kick-start a legendary and enduring career. Holiday would arrive a year later but one cannot underestimate the importance of Everybody. The album, Madonna, was well-received by critics and gained a huge number of fans. In 1982, aged twenty-four, Madonna was living in New York and trying to establish a music career. Her then-boyfriend Steve Bray, whom she was living with, became the drummer in her band - and, between them, they changed styles in an attempt to find their niche. Madonna had a rough tape with three songs on it including Everybody – and, after splitting with Bray and being dropped by Gotham Records (Madonna was signed to them but dropped as they were unhappy with her direction), she took matters into her own hand. Frequenting the Danceteria nightclub in New York; she convinced D.J. Mark Kamins to play the song, Everybody. The song went down well and from there Kamins decided he would get Madonna a record deal. Taking it to the boss of Island Records, Chris Blackwell – on the understanding Kamins would get to produce it – it was rejected.

They went to Sire Records who offered Madonna a deal and $5,000 in advance - $10,000 in royalties for every song she wrote. The twelve-inch single of Everybody was produced by Mark Kamins at Blank Tapes Studios, New York, and recorded and their own cost (Madonna helping foot the bill). Madonna and Kamins had misunderstandings during the sessions: each differed in regards what they wanted from the song and the direction it would take. It was, despite the uncertainty, released and became a big Dance hit. It was the start of a fantastic career and, whilst not her finest single, was the introduction of a stunning and iconic talent. Madonna was offered an L.P. deal following Everybody’s success and the incredible album, Madonna, was released. She was influenced by Dance-Pop and Post-Disco at the time but struggled to shake Disco – some of the album’s songs dated and using equipment that came off as dated. Madonna looks back at the album as a missed opportunity. She hoped she would have dispensed with the Disco obsession and added a bit more variety in there. It is a bit harsh from someone who, whether she knew it or not, had created a fantastic debut album. Everything was the song that started it and showed what a talent we had in our midst.

By July of 1983 – when her eponymous debut was released – her name was well-known and she began to rise the charts and minds – touted as a future star and someone to watch closely. If reviews, in some quarters, were mixed then it would not be long until she gained the sort of praise and adulation she warranted. Her debut was a success but Madonna wanted to take control for her follow-up, Like a Virgin. The label was not ready to give her that freedom so drafted in Nile Rodgers – not bad if you need a producer to help make a hit record! That ambition and determination from Madonna was impressive to see. In an age where we see many of our mainstream stars keen to employ a multitude of people to make their music pop and shine – it is worth remembering one of music’s most iconic talents was eager to steer her music from an early stage. Steve Bray and Madonna co-wrote five songs – Madonna writing a further one herself – on the album and it is a big step from her debut album - in terms of confidence and production. There is a lot more variation and more standout songs. Into the Groove, included for the 1985 re-issue (issued outside North America) and Like a Virgin resonated with her young audience. Her knack for producing a timeless and instant Pop classic meant, upon its release, Like a Virgin saw teenagers queuing the block to get their hands on the album.

The same way teenagers queued for The Beatles’ records in the 1960s: there were masses hustling and bustling to purchase Like a Virgin. The confidence from someone so young gave many, including a lot of female fans, inspiration and guidance. Material Girl, the album’s lead-off track (and second single), is one of the most recognisable songs of the era. If some felt the irony in the song did not match the social and political climate of the time; other recognised it as a song that perfectly highlighted Madonna’s situation and rare talents. She claimed, like many, how materialism plays a big role and she had that zeal for possessions and success. The kind of men who would have been around her wanted the same things – the more meaningful aspects of life not as important. In a time when the Reagan/Thatcher era reigned: Material Girl is the antithesis of all they were promoting. Material Girl remains an iconic song and one that influenced so many people. Like a Virgin, another huge smash, had tease and sensuality. Madonna, not a virgin at the time, liked how the words did not quite make sense – how can anyone be like a virgin?! – but had a huge amount of fun playing with it. Although the biggest songs from that album did not have Madonna as a writer – she understood how the lyrics connected to her and what they meant. Madonna was a hit and that rare breed: the street-smart singer who had the glamour of Marilyn Monroe. Witty, teasing and strident: few artists could claim to have that same pedigree and variation.

IN THIS PHOTO: Madonna in 1984

Few female artists were exerting their sexuality in the mid-1980s – it was the male artists who were the most ‘confident’ and accepted in this sense. Like a Virgin opened the door for an artist who did not want to be a girl and commercial puppet – different from the controlled Pop stars that were projecting a sweet and twee image at the time. True Blue was released shortly after Like a Virgin. The prolificacy of Madonna was incredible at the time. This sense of expeditiousness did not lead to sloppy and hurried material. True Blue was a different beast to what had come before. Madonna became bolder and more confident at this time. She addresses issues like teen pregnancy and the ups-and-downs of life. Married to Sean Penn at the time; she produced the album with Stephen Bray and Patrick Leonard. There was more incorporation of Classical music in order to attract older listeners – who were jaded and sceptical of her past work. That mix of youthful and mature meant it became a hugely influential work in the vanguard of late-1980s/early-1990s Pop. The global success of the album meant Madonna’s celebrity rose. The album spent thirty-four consecutive weeks at the top of the European Top 100 Albums chart and was the top-selling album of 1986. Like a Prayer and Erotica capitalised on True Blue and saw her gain the acclaim she had been craving. Unlike her early career; Like a Prayer was released after a three-year gap.

Madonna worked with Stephen Bray, Patrick Leonard and Prince on the album and took a more involved role than at any other time – co-producing and co-writing all the songs. Like a Prayer, as the title might suggest, is a more introspective work and dealt with subjects like her mother’s death – she died when Madonna was young – and familial bonds. The album was a turning-point that saw the superstar change from the colourful and cute girl of Madonna to the adult and accomplished woman of Like a Prayer. Such a transformation over the years meant critics referred to Madonna as an ‘artist’ – as opposed to a Popstar. 1992’s Erotica was the sound of Madonna embracing something she had denounced for years – a calculated and cold figure. The album tackled sex and romance through the guise of her alter ego, Mistress Dita (inspired by actress Dita Parlo). A couple of songs address AIDS – Madonna had two close friends who were affected by the disease - but, for the most part, Erotica tackled sex and physicality. Madonna set up her own Maverick Records and released the album on the label – showing how keen she was for autonomy and control of her own vision. It was another big step and a surprising turn from an artist impossible to predict. The artists who, only an album or two earlier, has been talking about sex and satisfaction was discussing love and relationships.

IN THIS PHOTO: The cover-art for the Erotica track, Rain

Madonna was in her thirties at this time so it might have seemed inappropriate to project the same persona as the Madonna-era sweetheart. That said, it would have been as easy to produce something safe and commercial – as she was the biggest music star on the planet at the time. Bedtime Stories, released in 1994, took Madonna into ballad territory and saw the complete change from sexy and vixen-like Pop artist. 1994 was a year when huge albums from Oasis (Definitely Maybe), Green Day (Dookie) and Portishead (Dummy) defined the times. It would have been a huge misstep recording an album that eschewed that and continued her 1980s sound. Madonna needed to move with the changing times and tastes and, in Bedtime Stories, produced an album that ably slotted into a fantastic year for music. Another four years past but, the difference between her previous gaps and this was the fact 1998’s Ray of Light was the biggest transformation and evolution of Madonna’s career. Released by Maverick and Warner Bros. Records; its recording began after the birth of Madonna’s first child. Babyface, Patrick Leonard and William Orbit assisted with production and it was Orbit’s inclusion that defined the album. The English producer took Madonna’s music in a more Dance-orientated direction. There were hardware issues – recording halted until equipment could be fixed – but, once it was all running, the Electronica, Techno-Pop fusions (with Trip-Hop and House) were worth the wait.

Vocally, Madonna showed greater breadth and depth than ever before: lyrics more spiritual and deeper than previous records. Mysticism and spirituality played a big role with Hinduism, Kabbalah and Buddhism guides for Madonna. I love Madonna 1980s work but feel Ray of Light is her finest track. Few artists have the same durability as her so it would have understood were Ray of Light to be a final fling too far. As it stands; the album is deemed one of the best of the decade – one of the best from the legendary U.S. artist. Madonna’s name can be found on every track and it continued her desire to see her work projected and represented the way she wanted it to be. The adventurousness and maturity from Ray of Light impressed critics – the album scored massive reviews and won four Grammy Awards. The album reached number-one in many critics and the blend of softer Pop numbers and deep, immersive Electro numbers demonstrated what variation Madonna had in her arsenal. Ray of Light helped bring Electronic music into the mainstream. To that point, aside from one or two artists putting out similar albums, Electronic music was reserved to raves and underground parties. Madonna solidified and visualised a wonderful movement that was allowed to breathe and evolve. It seems everyday and unremarkable today but, back in 1998, Ray of Light was a hugely vital work.

It brought Electronic music to new audiences and got it out of the basement. Other important breakthroughs – spiritualism and meditation brought into mainstream music; Indian fashions (which one can see in the video for Frozen) assimilated – meant the always-influential musician continued to break ground and push boundaries. Songs such as Frozen and Ray of Light showed the polemic nature of the album. The former is a rushing and heady smash that talked about the changes – fast and consistent – that shaped Madonna’s life. Motherhood, spirituality and creative shift all reflected in a song that became a huge hit when it was released in May (1998). Frozen talks about cold and emotionless humans and was deemed a masterpiece by many critics. Such a difference from what one was accustomed to: the song stunned many and showed what a chameleon-like presence Madonna remains. Frozen has simple themes/lyrics but is a grand statement and one of the finest songs from Madonna’s catalogue. Six albums have been released since Ray of Light and, whilst none have equalled the majesty of Ray of Light, they have shown Madonna is someone in no mood to slow and resist – 2000’s Music was a perfect start to the decade and another incredible release. That record stepped away from pure Electronic and brought in new genres like Country and Folk. The need to remain agile and moving meant it gained critical acclaim and was another big-selling release.

Standouts Don’t Tell Me, Music and What It Feels Like for a Girl became radio staples and brought Madonna’s music to new audiences. American Life, released in 2003, did not receive massive applause but many noted it confrontational style and need to move forward – taking another step in terms of creativity and style and pushing her music forward. Confessions on a Dance Floor was a more successful release and, out in 2005, was the tenth studio album from Madonna. 1970s Disco meant it was a completely different album to American Life and brought in Stuart Price as a co-conspirator. Critics lauded the return-to-form for the Queen of Pop and returned her music to the core audience and original discovery – the 1980s, when her early albums embraced Disco and the clubs. Maybe the fact it was her tenth album – and over twenty years since her debut – but there was a pleasing circulatory about Confessions on a Dance Floor. In many ways; the albums that followed mirrored Madonna’s early-career trajectory. From the Madonna/Like a Virgin dance and discovery of Confessions on a Dance Floor came the more charged and revealing Like a Prayer/Erotica themes of Hard Candy. Admittedly, as the title shows, it is a more middle-aged version of that but no less saucy and provocative. Collaborators like Pharrell Williams and Justin Timberlake ensured Madonna remained current and contemporary: Hard Candy was a move towards R&B (something not explored in previous released).

IN THIS PHOTO: Madonna during the Music photoshoot

The songs are not as controversial and boundary-pushing as Erotica and Like a Prayer but are autobiographical and reflective. Madonna, on Hard Candy, mixed sweetness and boldness without offending and shocking – remaining focused and solid. MDNA, referencing the drug MDMA (ecstasy), brought in a number of producers and, compared to her previous few albums, was a messier and less impressive work. There were highlights but showed defiance and attack. This was the first post-Guy Ritchie record and saw the divorced Madonna in a different headspace to, say, Music. 2015’s Rebel Heart found Madonna returning to the peak days of the mid-1980s and early-2000s. The songs are sturdier and less scattershot. The quality, whilst not to her high standard, is more noticeable than it was on MDNA and critics found Rebel Heart a more satisfying and consistent body of work. Who knows when the next Madonna album will appear but one is unlikely to predict what it will contain. The astonishing talent, since her debut, has not stopped or stood still for a moment. Everybody is almost thirty-five but remains that spark that lit the fuse – and the explosion that followed. I am excited to see what comes next but felt compelled to look back and chart the amazing music career of Madonna. I have not mentioned her epic stage shows but her sense of performance, theatrics and show(wo)manship is undeniable. A staggering icon who has changed music – let’s hope this continues for many years to come! On 6th October, when Everybody celebrates that anniversary, it provides everyone with a chance to look back on the career of Madonna and see just how far she has come. Many have tried to emulate her but, since that 1982-introduction, there has been nobody in music…

QUITE like her.

FEATURE: Gemma Louise Doyle: Reason

FEATURE:

 

Gemma Louise Doyle

 Reason

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LATER in the week...

I will look at acts to watch right now; a bit on Marc Bolan and forty since his passing – fashion in music and how that has evolved through the years. Right now; a look at someone whose life has been saved by music – in a semi-literal and real way. I have interviewed Gemma Louise Doyle before and, in lieu of reviewing her new track, a chance to promote a song/artist who dedicates her all to music. I have listened to her music in the past and always find myself drawn to the power and magnetism of the voice. Gemma Louise Doyle has a multi-octave voice and has performed all around the world – she speaks multiple languages and is a cross-genre artist who can apply her unique and flexible voice to anything. There is a biography later in the piece – for those who want more – that shows where she has come from and how her career has progressed. Doyle almost died when she was younger and told she only had hours to live.

Coming back from that would scar many and cause them to retreat a lot. Instead; the talented and curious singer used her recovery as a chance to embrace music. Her previous work – like the album, Inspire – show what a passion there is in her heart. One listens to her music and feels the full effect of that four-octave voice: an itinerant imagination and huge soul that manages to take the listener somewhere special and eradicate any stresses and problems. It is a magnetic and emotional experience. Reason is the story of Gemma Louise Doyle’s survival and subsequent pursuit of music. It has taken a while to write the song but it is dedicated to her fans and followers – who have stuck by her and been rewarded with words of compassion and inspiration. Reason (and its creation) is explained by Gemma Louise Doyle:

“Co-written with former member of Iron Maiden, the song is based upon the true story of how music saved my life. For the first time, I've got the single on iTunes, Spotify and hundreds of platforms. I will have more music distributed soon”.

Here's the iTunes pre-order link: https://itunes.apple.com/gb/album/reason-single/id1280959733

There's also a preview on her website: www.gemma-doyle.com

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About Gemma Louise Doyle:

PHOTO CREDIT: Debbie McGregor Photography

“Gemma Louise Doyle is a unique, international music artist, who says that music saved her life.

Gemma believes that we all have significant talents & abilities in our lives, which are our purpose, to share and help people, making the World a better place. 

Having once spent nearly 5 years recovering from a life-threatening illness, Gemma discovered that her voice could uplift people, inspiring them to make a change, and be happier. 
As she began to sing from a hospital bed, Gemma started receiving messages of praise & gratitude from other patients, which gave her the strength and courage to fulfil her dream of singing on stage and inspire many other people across the World.

A determined young talent, Gemma has spent the past eight years performing for audiences, live in Las Vegas, London, and across the globe. 

Today, Gemma commits all of her time, travelling to events, creating music, videos & positive messages for her followers.

Gemma has focused the past few months into developing her new record, called Reason, which she is about to release. The song was created & recorded in London, with a close friend, a former member of World famous bands; Iron Maiden and Cutting Crew, who Gemma met through mutual friends in New York. 

The single is written, based upon multiple sources. One of which is Gemma's experiences, how her musical talent gave her a reason & motivation to live. She says that the song is also for her supporters and audiences, who continue Gemma's belief & determination to achieve her dream.

Having a versatile 4-octave singing range, despite being a tiny frame, the song and power of her voice, surprises listeners, incorporating elements of Pop, Rock & Inspirational Crossover music.

You can pre-order the single now, by visiting Gemma's official website www.gemma-doyle.com, where you can also hear more of Gemma's music, and find out where you can see her appearing live.

You can also follow Gemma's journey, receive updates of new music and watch videos online, at Facebook, YouTube, Twitter and many of your favourite social media platforms. 
All of these links to follow, can be found at Gemma Louise Doyle's website www.gemma-doyle.com

Contact Details:

www.gemma-doyle.com

gemmalouisedoyleint@gmail.com

07757 216112

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Follow Gemma Louise Doyle

Official:

https://www.gemma-doyle.com/

Facebook:

https://www.facebook.com/gemmalouisedoyleprofessionalvocalist/

Twitter:

https://twitter.com/gemmaldoyle

Instagram:

https://www.instagram.com/gemmalouisedoyleofficial/

YouTube:

https://www.youtube.com/user/GemmaDoyleOfficial

Patreon:

 www.patreon.com/gemmalouisedoyle

Instagram:

  http://instagram.com/gemmalouisedoyleofficial

SoundCloud:

 https://soundcloud.com/gemmalouisedoyle

FEATURE: Later…with Jools Holland at Twenty-Five

FEATURE:

 Later…with Jools Holland at Twenty-Five

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AN established and legendary music show is on its fifty-first series….

and will take to the stage of the Royal Albert Hall in a few days. If one goes to the website of the Royal Albert Hall they can find out how to get a ticket and the acts that are involved that night. If you are a bit lazy, or want a general overview; they bottle it down to this:

“Jools Holland brings his iconic music television show to the Royal Albert Hall to celebrate 25 years, 50 series and over 360 programmes on BBC Two.

Featuring a typically eclectic blend of signature artists including major stars, legends, artists of the moment and brand new talents across genres from rock ‘n’ roll to jazz and all points in between, this multi-artist show will be filmed in the round, filling the Hall’s main stage and floor with artists in the style of the Later… studio as seen on TV.

IN THIS PHOTO: The artists who will perform at the twenty-fifth anniversary of the show

See the Later… experience as normally enjoyed only by a few in the television studio now laid bare in the bowl of the Royal Albert Hall. For one night only, this magical musical mystery tour, with a special line-up, will celebrate Later… with Jools Hollands’ commitment to all manner of musicians and musics that matter!

The show will feature old friends of the show and some new ones – Foo Fighters, Paul Weller, Van Morrison, Dizzee Rascal, KT Tunstall, Gregory Porter, Kali Uchis, Camille, Songhoy Blues and Jorja Smith”.

IN THIS PHOTO: Jorja Smith, who will be among the musicians celebrating Later...with Jools Holland at the Royal Albert Hall

The xx and Royal Blood were among the artists that helped bring the fiftieth series to a rousing conclusion. Two days ago, there was an A-Z of Later…with Jools Holland on BBC 2 - and it was a wonderful chance to see musicians brought together to provide their views on the long-lasting series. Many compared Jools Holland’s show to a cordial battle-of-the-bands. There is no competition or rivalry: more a group (of) of-the-moment musicians performing at the top of their game. Before I come to my views and what makes the show so special; a look (via Wikipedia) at the show’s origins and development:

“Later... with Jools Holland (previously known as ...Later with Jools Holland) is a contemporary British music television show hosted by Jools Holland. A spin-off of The Late Show, it has been running in short series since 1992 and is a part of BBC Two's late-night line-up, usually at around 11 pm to 12 midnight. The day of transmission has varied, but currently it is usually recorded on a Tuesday for Friday broadcast[1] and features a mixture of both established and new musical artists, from solo performers to bands and larger ensembles.

  The show is considered an institution, having notched up millions of fans around the world.[2] It is currently broadcast in America on MTV Live (formerly known as Palladia); previously it had been shown on Ovation, BBC America, Fuse, and Dave. The Ovation and Fuse broadcasts leave out several performances (and usually one or two performers entirely) to air commercials within a one-hour timeslot. It is also shown in Australia on the UKTV channel and ABC2, in Canada on HIFI and AUX TV, in Germany on ZDFkultur, in Spain on Canal+ Xtra, in Croatia on HRT 2, in Latin America on Film&Arts and in Belgium, France, Portugal, Switzerland, and the United Arab Emirates on iConcerts HD.

The 200th programme was broadcast on 1 February 2008.[3] The 250th edition was broadcast in September 2010.

In 2008, the head rock and pop critic of The Guardian, Alexis Petridis, claimed the programme featured a "distinct lack of spontaneity" and was failing to showcase enough dance music, pop, hip-hop, experimental music or present R&B artists. He also argued "all the artists it breaks are essentially the same: MOR singer-songwriters".[6]

In 2010, Joe Elliott, lead singer of rock band Def Leppard, criticised the programme for excluding the band from appearing on it, claiming "Jools Holland won't have us on his show because we're not cool enough."[7] Executive producer Mark Cooper responded to this comment in 2013, claiming: "The aim is to put together the best mix from various genres. We’re not thinking, 'Oh no, we’ve never had Def Leppard on, we owe them one'." Cooper acknowledged that the series had "not had much metal" but denied accusations that it was "snobby" about pop acts”.[8]

It is easy to argue against critics who say Later… is an elitist and snobbish format. It does not exclude artists and is one of the most all-inclusive and varied shows I know. There is a camp that says it does not feature enough Dance and Pop artists but is designed to feature the best and brightest acts. Not many ‘classic’ artists are featured if they do not have new material out. Maybe there is a sense of ‘cool’ and contemporary about the show but it does not shut its door to music’s variegated and broad spectrum. On 26th of this month; Liam Gallagher, Benjamin Clementine and Nadia Reid will join LCD Soundsystem, Jorja Smith and Jimmy Webb. That line-up is of-the-moment and cool but there is no difference to the ethos and structure of Later… and stations like BBC Radio 6 Music. Nobody criticises the station for not including a lot of Thrash and mainstream Pop. Each show or station has its own dynamic and breakdown. Later… has featured Pop in the past and is a broad-church that is not keen to exclude. There are limits and cut-offs but looking at the series fifty-one opener and there is a range of genres and tastes among the cut. The show’s helm and frontman has been interviewing to promote the big anniversary. Some of the most-recent series have brought together everyone from Kano and Paul Simon through to Ed Sheeran and Haley Bonar.

I cannot understand anyone who claims the show is snobbish and restricted. It takes from music of the moment but casts its net over a huge range of sounds. I agree there are very few mainstream Pop artists and Country acts but the show has always been keen to focus on quality and currency – if it opens the doors to anyone then it loses appeal and the quality goes down.  Older, established bands/artists have been on Later… so the likes of, say, Def Leppard making complaints, is a little strange – the fact a band like that would not be included is down to a lack of quality and potency rather than them being prejudiced. The same goes for a lot of Pop in the charts. That music has its audience but it lacks the allure and pull that warrants a place on Later… The show is a not a drop-off for any artist promoting a song: it is for the best artists around who can get the audiences hooked and make a real impact. There is no sense of pushing people away or limiting the type of artists that are featured. Later… is intended to put the best music on the screen and that, in an age where there are so few music shows, is why it continues to thrive. Consider past years when we have had the likes of Top of the Pops on our screens. Music is because more digitalised and insular – in terms of promotion – and the wealth of music T.V. is down to this one show.

The reason Jools Holland’s show has survived so long is for a number of reasons. The magnitude, passion and likeability of the host, yes, is why so many people tune in. Holland is an enthusiast who has the desire to put all kinds of musicians into the studio. It is rare and almost alien-like finding a T.V. show with a live audience that has no gimmicks – it is musicians performing tracks and that, is essentially, it. Little chat and brainless promotion; you do not get the drawn-out interviews you might hear on radio. It is all about the music and keeps things pure and simple. That battle-of-the-bands-style format is a tried and true thing. The fact Top of the Pops died is because it lost an edge and sense of purpose. It seemed dated and was a bit old and creaky as we moved into the streaming-age. Later…with Jools Holland has never relied on bright lights, chart acts and anything cheap. It is a pure and unchanged show that continues to bring us the best music around. One of the reasons I love it is because there is that mixture of cultures, styles and ages. One can find an older/established act like Robert Plant or PJ Harvey. You have the newcomers and underground acts on the same bill as legends and titans. There are no egos and reservations at all: any musician who can put in a great performance is welcomed on the show. Each episode has a great blend of sounds and never relies solely on Rock, Alternative or Soul.

IN THIS PHOTO: M83 and Mai Lan performing on Later...

These days; survival and durability is a dying pleasure. So few people can maintain successful and evolving careers; T.V. shows never last that long and the only way music-lovers can hear true and quality musicians is through the radio. I am a devotee of stations like BBC Radio 6 Music but want the chance to see their kind of musician perform on stage. The live music scene is dwindling and threatened so it is always good finding a show that puts the prominence and focus on the live performance. One can argue shows like Later…with Jools Holland is responsible for inspiring people to go to gigs and embrace venues. It is always great seeing Holland join a guest and play piano: he gets involved and loves to be a part of the mix. He is a great interviewer and has that charming and down-to-earth conversational style. Seeing musicians relax and causally chat to Holland is contrasted by their electric and stunning performances. Over the years, and through the series, we have witnessed amazing performances that stay in the mind.

It is great to see a show that has seven-eight guests and does not feel the need to adapt and evolve to fit with the digital age. Imagine if it booked its guests on the strength of Spotify figures and what was trending. That would be ghastly and galling! Later… is all about quality and the true spirit of music. Anyone who dares strike against such ethics and morals has no right to call themselves music fans. Take a look at the fifty series of Later… and one will find so many genres and artists on the list. That will continue for many years to come and remain the sole source of T.V. music. The twenty-fifth-anniversary show at the Royal Albert Hall is a worthy celebration of a show that continues to amaze, compel and inspire. Jools Holland is the ever-enthusiastic curator and amazes me with that constant verve and energy. Long may the show continue and bring the people the best and boldest musicians from around the world. I have found so many artists and new discoveries through later. Jools Holland’s show is a tastemaker in the same way John Peel was at his peak. The formats are different but one is allowed the chance to unearth brilliant new acts on Later… It is not only about the mainstream and what is hot at the moment. Who knows how far the show can go but, in an age of disposability, seeing something survive and grow is truly inspiring and rewarding. If you cannot get to the Royal Albert Hall on Wednesday; make sure you tune into the opening edition of the fifty-first series and see some awesome musicians captivate and enthral. Raise a glass to Jools Holland and an amazing BBC dynasty. It is Later… but there are plenty more great years…

 IN THIS PHOTO: Sonnghoy Blues, who are among the musicians who kick-start the next series

IN this incredible show (sorry for the poor time-related/’later’ pun!)

FEATURE: Festifeel 2017

FEATURE:

 Festifeel 2017

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HOSTED by CoppaFeel!; the annual...

IN THIS PHOTO: Anna Jones (@we_are_food)

Festifeel festival is a unique event that puts boobs at the forefront – in the sense that it encourages young women to check their breasts. It is a way of making breast cancer more visible and less frightening/lonely – a way of taking any hesitation and stigma out of it and raising awareness. The event is not only a change for women to come together. Co-founder Kristin Hallenga, when talking about the ethos of the festival, explained it in these terms:

"I want everyone to know that cancer doesn’t conform to the over-40s rule we try to impose on it; and that getting to know your boobs from a young age, and making checking them regularly a habit of a lifetime you could save your life one day."

IN THIS PHOTO: CoppaFeel! founders, Maren and Kristin Hallenga

CoppaFeel! was founded in 2009 and twin sisters Kristin and Maren Hallenga started the movement following Kristin’s breast cancer diagnosis at twenty-three. Due to her late diagnosis; CoppaFeel! C.E.O. Kristin lives with stage-four breast cancer. Last year; she explained why she was stepping down from helming CoppaFeel!

“In fact, at the moment I am not just looking at the more recent months, but my past eight years running CoppaFeel! Why? Because I have decided to step down as CEO of the charity.

This is in no way linked to my health – in fact, I feel better than ever. And I’d rather step away when I am well than on my last legs.

IN THIS PHOTO: Kristin Hallenga

I never wanted to be in a panic about the future of the charity. I feel so very lucky then, to be in the position to step away when both me AND the charity are feeling strong.

CoppaFeel! is at its peak, it is saving lives and has a kick-ass team leading it to even greater things.

Honestly, I never wanted to be a CEO. I am not a natural leader, just very passionate, and my passion has got us to this stage.

Now it’s time for a new pair of eyes and fresher leadership to take it even further.

I recently read an article about Founder’s Syndrome, and how founders of charities often don’t know when to relinquish their powers – to the detriment of the charity. I never want to be in that position”.

The fact doctors, when she was concerned she had breast cancer, dismissed her concerns as irrational and hormonal – it shows, as recently as a few years ago, how much ignorance there was. It seems insane there would be such cavalier disregard and dismissal of anyone fearful of their health. The fact Kristin was right – and faced the most devastating news possible – does not make her (correct) instinct satisfying. Out of the horrible and bleak situation came the desire and dream to make breast cancer a less misunderstood and overlooked illness. The aim is to reduce the rates of death and ensure there is more early-stage detection and greater conversation. There is a stigma and sense of trepidation when it comes to men and checking for testicular cancer. The fact they are reluctant to check themselves is one barrier: going to a doctor and revealing something embarrassing is another hurdle. The fact is, like breast cancer, it is serious and should not be seen as embarrassing.

CoppaFeel! has the mandate that urges women to check their breasts and notice any abnormalities or changes. The Ambassadors of CoppaFeel! are called ‘the Boobettes’ – women who were diagnosed at a young age. I shall mention this year’s Festifeel but, before then, a little Wikipedia overview of CoppaFeel! and how it has grown:

“In summer 2014 they launched their ‘What Normal Feels Like’ campaign, which seeks to reclaim the language and imagery associated with breasts.[13] Hundreds of women have submitted pictures of their breasts, along with a descriptive word such as “wibbly” or “springy”, which have been used in a series of advertisements designed to normalise and desexualise female breasts.[14] According to The Daily Mail, the ‘What Normal Feels Like’ billboards had to be placed away from roadsides for fear of distracting drivers with images of naked breasts.[15]

In the same year The Sun newspaper started working with CoppaFeel! on ‘Check ‘Em Tuesday’, a bold campaign that features Page 3 models encouraging readers to check their breasts for signs of cancer every Tuesday.[16] CoppaFeel! founder Kristin Hallenga presently works as a columnist for The Sun, expanding on the important of ‘Check ‘Em Tuesday’ by regularly writing about her own experiences with cancer.[16] The campaign has been criticized by No More Page 3, who feel that the promotion “sexualised images of young women to highlight breast cancer”.[17] CoppaFeel! responded to the criticism by highlighting the importance of early stage diagnoses for the disease.[18] ‘Check ‘Em Tuesday’ has received support from several celebrities including motorcycle racer Maria Costello,[19] and actress Helen Flanagan.[20]

CoppaFeel! have also run a ‘Cheknominate’ campaign, which was their “healthier” take on the Neknominate craze.[21] Cheknominate encouraged people to record themselves checking their breasts before nominating a friend to do the same. The Huffington Post were supportive of the campaign, and encouraged their readers to try to get the hashtag #Cheknominate trending on social media”.[22]

IN THIS PHOTO: Russell Howard

CoppaFeel! and Festifeel have gained celebrity support from the likes of Fearne Cotton, Russell Howard and Danni Minogue. Radio presenters such as Dermot O’ Leary have thrown their support behind it – O’Leary and Greg James run the Bath Half-Marathon in 2013 – and raised a lot of awareness/funds. It is important, as Chris O’Dowd stated in a vital video, men check themselves too. There is this assumption men cannot get breast cancer because they do not have breasts. Everyone has breasts in the same everyone has an Adam’s apple (a misnomer and confusion) – unlike an Adam’s apple: breasts are less prominent in males.

IN THIS PHOTO: Fearne Cotton

We need to check ourselves and ensure we perform regular inspection and maintenance of our bodies. The same way it is important for women to get men to check their testicles for cancer: men should - and have - urge young women to check their breasts for possible irregularities. Make sure you go to this year’s Festifeel and check Facebook for details. The official website provides links to tickets - and check the latest Twitter happenings here. It is a wonderful cause whose annual festival gains more traction and patronage by the year.

This year’s is going to be a huge gathering and a wonderful day – not only intended to raise awareness and support for breast cancer/detection but provide wonderful music/talent...

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HOUSE OF VANS

Arches 228 - 232 Station Approach Road, London SE1 8SW

Busted // Pixie Lott // Denai Moore // The Staves // Fleur East // Basement Jaxx (DJ Set) // Lauren Laverne (host) // Mystery Jets (DJ) // Goldierocks (DJ) // Abbie McCarthy (Radio1) DJ // Bear Grooves (DJ)

Welcome to Festifeel, an annual festival organised by, and raising funds for, the charity CoppaFeel!, who work tirelessly to raise awareness of breast cancer, in order to stamp out the late detection of the disease.

Heading into its eighth year, it’s known for its incredible and eclectic line up that switches from the best new bands to some of music’s biggest stars with DJs, comedy poetry hour with Laurie Bolger, graffiti workshops, boob chat, glitter, nail art and so much more, held in one of London’s most epic music venues.

IN THIS PHOTO: Festifeel host, Lauren Laverne

With a music line up curated by Fearne Cotton, you’re guaranteed to be in for a treat. Last year's line-up featured the Mercury nominated Laura Mvula, Rae Morris, Flyte, the legendary Stereophonics, + DJ sets from Goldierocks to Gok Wan and a comedy stage curated by Russell Howard.

October 14th is set to be a special day, and all for a pretty brilliant cause.

Presented by Festifeel.

Under 16s must be accompanied by an adult.

IN THIS PHOTO: The Staves

LINE UP

1pm Doors open

- Busted

- Pixie Lott

- Denai Moore

- The Staves

- Fleur East

IN THIS PHOTO: Basement Jaxx

- Basement Jaxx (DJ Set)

- Lauren Laverne (host)

- Mystery Jets (DJ)

- Goldierocks (DJ)

- Abbie McCarthy (Radio1)

- DJ Bear Grooves (DJ)

IN THIS PHOTO: Pixie Lott

FEATURE: It Ain’t Over Until the Fat Lady Sings: The Best Album-Closing Songs

FEATURE:

 

It Ain’t Over Until the Fat Lady Sings: 

PHOTO CREDIT: Unsplash 

The Best Album-Closing Songs

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AN album can succeed or fail simply because of the order…

IN THIS PHOTO: Nirvana in 1993

the tracks are placed. I have heard great records top-loaded and too eager to please: others end with their best songs and rely on a lot of patience for the listener to get that far. Programming and correct assortment is a vital – and very difficult – discipline to conquer. Of course, if you have an album with great material throughout, there is a golden rule: end with the best track and start with one of the better ones – sprinkle the rest in an order that will keep the listener hooked and guessing.

I take a look at albums that end with a real bang: those unexpected treasures that give you that last-gasp burst of brilliance.

_________

The Beatles – A Day in the Life

Album: Sgt. Pepper’s Lonely Hearts Club Band

Year of Release: 1967

Muse – Knights of Cydonia

Album: Black Holes and Revelations

Year of Release: 2004

Björk – Play Dead

Album: Debut

Year of Release: 1993 (Reissued Version)

Joni Mitchell – The Last Time I Saw Richard

Album: Blue

Year of Release: 1971

The Jimi Hendrix Experience – Voodoo Child (Slight Return)

Album: Electric Ladyland

Year of Release: 1968

Glassjaw – Convectuoso

Album: Everything You Ever Wanted to Know About Silence

Year of Release: 2009 (Remastered Version)

Radiohead – Street Spirit (Fade Out)

Album: The Bends

Year of Release: 1995

The Jam – Down in the Tube Station at Midnight

Album: All Mod Cons

Year of Release: 1978

Kate Bush – A Sea of Honey

Album: Aerial

Year of Release: 2005 (Re-release)

Oasis – Champagne Supernova

Album: (What’s the Story) Morning Glory?

Year of Release: 1995

Dire Straits – Brothers in Arms

Album: Brothers in Arms

Year of Release: 1985

Beyoncé – Formation

Album: Lemonade

Year of Release: 2016

David Bowie – Rock ‘n’ Roll Suicide

Album: The Rise and Fall of Ziggy Stardust and the Spiders from Mars

Year of Release: 1972

Bob Dylan – Desolation Row

Album: Highway 61 Revisited

Year of Release: 1965

Pink Floyd – Eclipse

Album: The Dark Side of the Moon

Year of Release: 1973

PJ Harvey – We Float

Album: Stories from the City, Stories from the Sea

Year of Release: 2000

Nirvana – All Apologies

Album: In Utero

Year of Release: 1993

Fiona Apple – Hot Knife

Album: The Idler Wheel Is Wiser Than the Driver of the Screw and Whipping Cords Will Serve You More Than Ropes Will Ever Do

Year of Release: 2012

Sufjan Stevens – Impossible Soul

Album: The Age of Adz 

Year of Release: 2010

Joy Division – Decades

Album: Closer 

Year of Release: 1980

Fleetwood Mac – Gold Dust Woman

Album: Rumours

Year of Release: 1977

Prince and The Revolution – Purple Rain

Album: Purple Rain

Year of Release: 1984

FEATURE: Sticks and Stones: Incredible Drum Performances

FEATURE:

 

Sticks and Stones:

PHOTO CREDIT: Unsplash

Incredible Drum Performances

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THE drummer is a part of the band…

IN THIS PHOTO: Led Zeppelin's John Bonham

that often gets overlooked. The focus is on the singer and it is not often the percussionists get a chance to stand in the spotlight! Often, a meaty or energetic piece of sticks-work can elevate a track to transcendent levels. I am seeing a greater number of people take up drumming: a lot more women are playing with fellow women/men and showing they can mix it with the very best of them. It is encouraging seeing more female musician taking up drums – I am hearing so many fantastic drummers who will be future stars. I have been urged to seek out some of the finest drumming performances of all time - to show why an epic piece of percussion can raise a track to the heavens.

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Queens of the Stone Age – No One Knows

Drummer: Dave Grohl

Album: Songs for the Deaf

The Beatles – The End

Drummer: Ringo Starr

Album: Abbey Road

Led Zeppelin – Moby Dick

Drummer: John Bonham

Album: Led Zeppelin II

Fleetwood Mac – The Chain

Drummer: Mick Fleetwood

Album: Rumours

Blondie – Atomic

Drummer: Clem Burke

Album: Eat to the Beat

Steely Dan – Aja

Drummer: Steve Gadd

Album: Aja

The Velvet Underground – Heroin

Drummer: Moe Tucker

Album: The Velvet Underground & Nico

The Who – My Generation

Drummer: Keith Moon

Album: My Generation

King Crimson – 21st Century Schizoid Man

Drummer: Michael Giles

Album: In the Court of the Crimson King

The White Stripes – Seven Nation Army

Drummer: Meg White

Album: Elephant

The Beatles – Ticket to Ride

Drummer: Ringo Starr

Album: Single Release/Help!

Led Zeppelin – When the Levee Breaks

Drummer: John Bonham

Album: Led Zeppelin IV

The Jimi Hendrix Experience – Fire

Drummer: Mitch Mitchell

Album: Are You Experienced

The Who – A Quick One, While He’s Away

Drummer: Keith Moon

Album: The Kids Are Alright

Soundgarden – Jesus Christ Pose

Drummer: Matt Cameron

Album: Badmotorfinger

Benny Goodman and His Orchestra – Sing, Sing Sing (With a Swing) (Pt. 1 & 2)

Drummer: Gene Krupa

Album: Single Release

Slipknot – Psychosocial

Drummers: Joey Jordison/Chris Fehn/Shawn Crahan

Album: All Hope Is Gone

Cream – I Feel Free

Drummer: Ginger Baker

Album: Fresh Cream (U.S. Version)

Miles Davis – Miles Runs the Voodoo Down

Drummers: Don Alias/Jack DeJohnette

Album: Bitches Brew

The Who – Won’t Get Fooled Again

Drummers: Keith Moon

Album: Who’s Next

FEATURE: Freddie Mercury: Why His Magic and Magnetism Lives On

FEATURE:

 

Freddie Mercury:

 Why His Magic and Magnetism Lives On

________

A certain legend is back in the news…

PHOTO CREDIT: Getty Images

and with good reason. On 5th September, it would have been Freddie Mercury’s seventy-first birthday. I get it still IS but it makes me wonder, were he still with us, what he would make of music. I guess he would have got involved with the talent shows. I don’t think he would have objected and, if anything, might have been keen to be a judge. He would have been great cutting bad singers to size and inspiring the genuinely promising. Something bigger would play on Mercury’s mind: the tepid barometer and lukewarm temperature of modern singers. There are a few big voices on the scene but they come along so rarely. We have just seen a new single from Björk and, although it is not a hugely bombastic song – it shows what an intricate and nuanced voice she has. In terms of those dramatic and semi-operatic singers – one wonders where they are these days. Florence Welch, I understand is preparing new Florence and the Machine material.

She is someone who always brings a sense of theatre and captivation to her tracks. In terms of male examples, the mind does struggle for answers. I guess Freddie Mercury remains that unique and unbeatable performer. That is why I love him so much: he is a performer above all else. You get the sense, with so many singers, they are going through the motions and unable to fully articulate the complexities and heights music can provide. Their songs are relatively simplistic and, if they demand an extended histrionic range, many struggle to come up to the mark. Mercury, when faced with any material, would kick the hell out of it! Before I come to look at Mercury’s singularity and influence; we have all been hearing about the upcoming Queen biopic, Bohemian Rhapsody. Named for their best-known song, it features Rami Malek stepping into Mercury’s shoes. Many might recognise the actor from the series, Mr. Robot but, for the most part, he remains unknown to many.

IN THIS PHOTO: Rami Malek/PHOTO CREDIT: Mark Mann

Pictures and clips are capturing the actor immersing himself in the guise of the departed legend. It seems he is a natural adopter of Mercury’s tics, mannerisms and movements - able to project the same gusto, imagination and electricity. This is pleasing because, as we know too, there have been problems with the production. Sasha Baron Cohen was due to play Mercury – and is perfect in appearance and stature – but was not happy with the way the script looked (such diva-like behaviour hardly befitting of Freddie Mercury film!). Maybe they were concentrating too much on various areas and aspects of Mercury’s life – Baron Cohen feeling uneasy with the concept and representation. There wasn’t complete faith from the other members of Queen so it might not have been the most conducive and harmonious set. Malek seems like a better fit and prepared to castigate any doubts and artistic differences and embrace Mercury’s spirit. I am not sure whether Malek is tackling vocals himself but it will be interesting to see what he does in the role.

I am a bit sceptical about biopics because they fail to truly and authentically represent an artist – and can seem rather glossy and fake. I know many have been hankering for a Freddie Mercury biopic but there will be nerves seeing where the focus is and whether Malek fully embodies the complexities and physicality of Freddie Mercury. The best thing about the film is it revives some classic Queen songs and puts the spotlight on an artist who, nearly twenty-six years after his death, still enthrals and captivates. His AIDS-related death shocked the world and many were surprised he deteriorated so rapidly. The fact he announced the disease a few hours before his death was always going to create a shock. He would not have wanted speculation and tabloids surrounding his bed. He was sick and knew he was going to die. Exposing the intimate and upsetting details to the public was not right and, rightfully, Mercury did not mention his disease to the world. Maybe the ignorance and lack of AIDS awareness means Mercury’s death was not wholly unexpected.

There is more awareness now and, whereas AIDS is not a death sentence; it does still exist and it can be argued Mercury’s case put the disease into the forefront – more people aware of its dangers because of his death. It is tragic what happened and how Mercury’s life ended. That said; he was living each day as fully as possible and promiscuity, a sense of recklessness and abandon was part of his personality. It is interesting – as interviews show – Mercury was quite a reserved and shy figure away from the stage. His extravagance and flair was part of his stage personality: away from that, he was grounded, private and enigmatic. There was a sharpness and catchiness at time but plenty of cheekiness, fun and quotability. His humour and honesty was refreshing back then: today, it would be the subject of daily tabloid scrutiny. It is rare finding a true personality anywhere in music right now. Mercury seemed less of a nonpareil back then and would be alien in today’s climate.

Assuming he would be making music in his seventies; how would the world react to a creature as beguiling and counterculture as Mercury?! His voice, one speculates, would be more mature and calm; powerful and extraordinary but less broad and powerful as once was. There are so many memories that stick in my mind when thinking of Freddie Mercury. My earliest, when I was very small, would have been his set at Live Aid in 1985. When Queen took to the stage; they were in front of thousands – televised to a T.V. audience of millions. That kind of event would be unlikely in today to have such a huge-scale concert take place but, back then, the sense of expectation and nerves would have been immense. Not that one would notice from Mercury who, in typical fashion, provided a dazzling, audience-uniting set.

PHOTO CREDIT: Richard E. Aaron/Redferns

Listening to him singing Radio Gaga - when he got the crowd to engage in a mass call-and-response – shows what a hugely innovative and towering performer he was. No fear or nerves that day: a man taking to the stage and holding the world in his palms. The set was so huge and memorable it threatened to undermine and overshadow every other performer that day. The fact Live Aid was the chance to bring the biggest stars together and raise awareness of poverty in the Third World. It was not about one act but, such was the gravitas and immensity of Freddie Mercury’s performance, it remains in the memory longer than anything else. That set was typical of a man who was born to take to the stage. Most artists like Mercury – a free-flowing bird who was at his finest in front of an audience – would feel caged and constrained when in the confines of the studio.

Even though there were disciplinary restrictions in that environment; Mercury was able to extol some control and theatricality in the room. I remember watching a video when the band was recording One Vision. The lyrics went through various machinations and the overriding takeaway was Mercury being involved in every stage of the process. Each take had different nuances and qualities and the lyrics, whilst a little trite and faux-philosophical, allowed Mercury to indulge his full range. It would be good to see every Queen song filmed and documented as it would have provided historians and music-lovers the chance to unveil a superb talent and how his performances assembled themselves. A few magazines have run features that isolated Mercury’s vocal on Under Pressure. The fact he was going toe-to-toe with David Bowie – and HIS is the vocal celebrated and elevated – shows what an artist he was. He was not trying to outshine Bowie (nor was he given more time and lines) but he attacked the song in such a manner it stunned people.

PHOTO CREDIT: George Wilkes/Hulton Archive/Getty Images

I have always found it hard to bond with Queen songs because they are not the sort you come back to time again. There is campiness to them but that is never an issue. To me, the lyrics lacked depth and there was not a lot of real substance. Many people are off-put by Queen because they got all the attention they did and, to many, did not warrant it – magazines like Rolling Stone, for instance, hated the band for long periods. Some see them as throwaway but one cannot deny the fact the reason for their success is down to Mercury. Not only did he pen some of their biggest hits – including Bohemian Rhapsody – but he brought a new sensation to every song. So many singers repeat themselves and seem rushed when releasing music. Even the titanic voices of today get into the habit of repeating themselves. Amy Winehouse was the last truly big voice who could bring something fresh to every song she delivered. Adele, one of our biggest stars, seems to be treading water and leaves me rather cold.

IN THIS PHOTO: Freddie Mercury with Montserrat Caballé

How many modern singers could/or would tackle a song like Barcelona and make it stick?! Montserrat Caballé and Mercury traded vocals and created a rapturous and spellbinding duet. The fact Mercury could legitimately and bravely perform an operatic song – and make it sound real and easy – shows what a talent he was. It is the variation and daring of Freddie Mercury that means his legacy endures and he enjoyed such a varied career. Every Queen album provided something different and, whether on his solo album or performing with other artists, showed he was a singer that could handle anything. Mercury is an anomaly in music that has seen nobody get close to his talent. Every world-class singer sees a host of artists try and match their grandeur and majesty. From Aretha Franklin and Robert Plant to Kate Bush – they all have contemporaries who infuse some of their colours into their music. I hear some big-voiced singers but none who remind me of Freddie Mercury.

Maybe there are no bands like Queen who have that same pomp, camp and originality. The modern music press would not take too well to a modern-day Queen. They were a bit of an oddity in their day but did have a career that spanned three decades. From their eponymous debut in 1973 to their finale in 1995 – Innuendo, in 1991, was the last album that featured Mercury (Made in Heaven, in 1995, was released after Mercury’s death). There were some truly great albums – Sheer Heart Attack A Night at the Opera – in the early-mid-1970s and an ill-fated embrace of Disco. The band’s greatest hits collections show they made some truly excellent music but they were very much of their time. Music has changed so much that we cannot have another Queen in our midst. A ‘new Freddie Mercury’ would need a band support and, one feels, they would need to be Glam-Rock.

That genre is not exactly thriving so one wonders whether we can ever breed someone like him? I think the reason we will not see another Freddie Mercury is a lot simpler: he was a one-of-a-kind that left a huge mark on music. Go watch Bohemian Rhapsody when it is out because it will show where Mercury came from and what he was like behind the scenes – and how he brought people to life when he was in his element (on the stage). I hope the flick does Mercury justice and has been worth the wait. My greatest hope is the film rekindles an interest in his music and tremendous voice.

PHOTO CREDIT: Getty Images

Freddie Mercury is one of those brave, incredible and mysterious figures the music industry desperately needs. Perhaps we have come too far to have unique characters and titans in our midst. Everything is marketed, rushed and meticulously planned. Imagine Freddie Mercury being made to go on Spotify or see his songs tortured and drip-fed to the point of exsanguination?! He would have rebelled against that and been ostracised from critical approval. The fact he died in the early-1990s is a tragedy but his legacy and music will never die. Who knows, though? Maybe, when people see the film and hear Mercury’s name back in the media; that will compel them to overcome fears and follow in his footsteps. Music requires that and, if we do see a singer compelled to reach Mercury’s heights, that would be…

TRULY wonderful.

FEATURE: London Ruling: The North-South Divide in Music

FEATURE:

London Ruling:

 The North-South Divide in Music

________

I am buzzing Sampha walked away with the Mercury Music Prize…

IN THIS PHOTO: Sampha

on Thursday – as it showed the faith and love people have for his debut album, Process. It is encouraging seeing the panel recognise a work that stems from painful memories and exudes such emotion – the effort and work that goes into Process deserves an award, for sure. I listened to Sampha’s acceptance speech and, whilst I was thrilled he as honoured, it got me thinking about the Shortlist. Five of the twelve acts nominated were from South London. It is a fertile bed of innovation right now. Kate Tempest, who I thought would win the Mercury Music Prize, is from there and proves there is diversity in the area. Sampha’s soulful and hugely evocative songs contrast Tempest’s direct and to-the-brain missiles – a songwriter articulating the reality of modern life and the struggles we are going through. It is important London gets recognition but I wonder whether there is a send of ‘trend’ and ‘cool’ nominating artists from this part of the world. Of the dozen assorted Mercury names, something startling revealed itself: so few are from the North. Ed Sheeran was born in Halifax, Yorkshire (but lives in London) alt-J are from Leeds (another Yorkshire act) whilst Blossoms come from Greater Manchester.

IN THIS IMAGE: The album cover for Ed Sheeran's %

One would imagine, when representing the spread and best of British music, one would expect greater northern representation. Maybe one can look at the critics’ favourites from 2017 (and later in 2016) and claim most of the British best are from the South. That might be true but one can also claim little attention is paid to the North. Music still has a London-centric attitude and mindset. This is not a shock but I worry too much of the focus is put on London and what is happening here. I cannot remember the last time there was an equal distribution when it came to our musicians. Most of the new artists I see proffered seem to hail from these parts.

IN THIS PHOTO: King Street, Townhouse (Manchester)

I know for a fact there are so many greater bands/artists from north of London. Scotland and Wales (the former especially) is a wonderful area for music – Glasgow among the finest cities for new music. I have a lot of love for Yorkshire and was pleased to see some of the county’s artists included in the Shortlist on Thursday. Manchester, and the explosion of talent stemming from there, was distilled to Blossoms. The Stockport-based band was the only act from the North West - and that is something that worries me a lot. There are few parts of the U.K. as hip and happening as the capital. This is where most of the record labels are: the majority of the big newspapers are here and some of the most-established studios. Although a lot of the big businesses and organisations are rooted in London; this does not mean anything north of London is worth ignoring. It is easy to say the reason why events like the Mercury Music Prize featured so many Londoners on the Shortlist was the faith and backing their music was given.

Jane Weaver, born in Liverpool, was expected to get a nomination at the Mercury Music Prize. Her album, Modern Kosmology, deserved a nod. The same could be said of Bristol’s IDLES. Brutalism is one of the most intense and addictive records from any new bands. I know Bristol is hardly northern but it is outside London and another part of the U.K. that warrants acclaim. The only way we are going to gain a full appreciation and knowledge of Britain’s best is when the media gets out of its London mindset. The last time there was a real wave and exposure of northern band was during the 1990s. When Britpop was in full-swing; bands like The Stone Roses, Oasis and Pulp were at the forefront. The rivalry with southern groups like Blur and Suede not only showed the contrasts but it provided a platform for both halves of the U.K. to shine. That was true in the 1980s when northern bands like The Smiths - famed for their observations of everyday life and unique lyrical bent - were favourites with critics.

IN THIS PHOTO: Manchester legends, The Smiths

There was not the same division as we have today. Back then, there were the great working-class bands that voiced the forgotten and overlooked – penning songs about the country and what was happening. Although we have some wonderful artists now; there are so few talking about anything real and relevant. Many would argue the fact, back in the 1990s when Britpop saw North and South tussle, that highlighted rivalry and divisions. I disagree because it was never a case of showing the differences and splits between the two regions: it was about promoting the distinct sounds of North and South; the quality one could find throughout the U.K. Now, there is so much profiling and love given to London – other parts of Britain do not get a good look-in. I will carry on but, before then, an article from a few years back showed, back then, the issue was as evident and troublesome.

“The last high-profile north-south musical tussle took place in the mid-90s when Oasis and Blur went head-to-head in the singles charts during the highly orchestrated, "Battle of Britpop". But nearly 20 years later, relations between regions remain strained.

IN THIS PHOTO: Bristol's finest, IDLES

"Hull is great for live music, there is a really good local band scene here, lots of activity, and any band who plays this city always enjoys it," says Paul Jackson, owner of the New Adelphi Club. "The thing about Hull, though, is it gets a lot of very bad publicity."

Jackson cites the case of the Paddingtons, a Hull act who were under pressure from the industry to airbrush the city from their background when they started creating what the music business is fond of calling 'a buzz'”.

I have heard a lot of bands saying they are from London – because people are looking for artists from here. It is as though, if one says they are from any other part of the nation, they would get blank stares. Maybe this is true when it comes to international. How many people in other nations are aware of the breadth of the U.K.?! Do they know the smaller towns and other cites?!

IN THIS PHOTO: A stunning view of Hull (it was named the 2017 City of Culture and has an active music scene)

I feel the only way for people to gain awareness of these areas is for the media to stop obsessing about London. The fact musicians have to class themselves as Londoners – even when they are from other parts – is a desperate attempt to gain acknowledgement and popularity. I long for the day when we can have that competitive tussle between North and South. The nation needs a ‘new Britpop’ and chance for the working-class bands best to go toe-to-toe with the more conservative and middle-class options. Right now, there is a dominance of London and the middle-class. I know Hip-Hop/Rap stars like Kate Tempest and Loyle Carner are, despite being London-based, working-class but there are downsides celebrating certain ‘scenes’. Good news South London is hot right now: what about Manchester, Leeds or Bristol?! A few years ago, when Bastille (from the South) and Sheffield’s Arctic Monkeys were the most-popular artists in the U.K. – streaming figures showed where each act was at their peak. Rather unsurprisingly; Bastille stormed things. They dominated the South and claimed much of the Midlands. Arctic Monkey’s success came in the North – very few victories further down the country. It showed a real division and, with Bastille winning an overall majority, how preferred and celebrated southern acts are.

IN THIS PHOTO: The Sheffield band, Arctic Monkeys

In terms of quality; Arctic Monkeys are superior but, because they are from outside London, they are not seen as fashionable, glamorous and worthy. Every phase of the musical moon reveals the splits there are between the North and South of the U.K. I was listening to Idris Elba talking about the artists nominated when he made a bit of a gaffe: he was quick to acknowledge how many great ‘English’ artists are on the list. Maybe he was right to point out the lack of Scottish, Welsh and Northern Irish names on the list – I am not sure that was his attention. In addition to their being this regional divide – it seems there is a lack of recognition when it comes to non-English musicians.

PHOTO CREDIT: Unsplash

How do political and current developments exacerbate the issues right now? London was one of the few parts of Britain that voted to remain in the E.U. Maybe the fact they are more international/European conscious makes them a more attractive proposition to put out to the world. Most parts of the U.K. voted to leave the E.U. but it is more pronounced in the North. Perhaps they see northern areas as unwilling to assimilate and embrace their European counterparts. It is hard seeing a political divide in the country but, alongside it, musicians are being compartmentalised and torn apart from one another. London is still seen as the wealthy elite and the heart of everything musical. We have this expectation and ideal anything from the North is poverty-prone, grubby and unspectacular. How many people will investigate a band from Sheffield or Middlesbrough?! Those areas are not as glamorous and there’s this perception there is nothing going on there.

The poverty of expectation is scaring new artists away. Many relocate to London to make sure they are visible and conscious. So many venues further up the country and closing and, with it, their musicians are fleeing. Many are remaining but have to work harder to get their names heard. I love areas like Manchester and feel the city is no weaker than it was a couple of decades ago. The sounds and ideals might have changed but there is immense quality there right now. Perhaps this is the feeling, because most of the bigger venues are in London, artists are not willing to travel down here. Locality problems and proximity concerns mean fewer artists have the budget to traipse to London for a single gig. The media is much keener promoting the capital’s musicians because they are able to perform locally a lot more frequently. I fear class plays into this sense of separation. There are far fewer working-class bands/artists making their way into the mainstream. I have mentioned Britpop and how many great working-class acts were on the scene.

Now, maybe tied to a lack of working-class journalists, there are far fewer artists who talk about the country in a real and relatable way. Not that every southern artist is middle-class but one normally looks to the North for those proletariat prophets. I am concerned it is becoming acceptable for any artist north of London to be seen as ‘Londoners’. Just because an area is not commercial or has not produced AS MANY great artists as London: does this mean we should overlook them and assume nothing good is going on there?! There is a desperate need for Rock heroes/heroines and something real in music. Wolf Alice, whilst based down this way is a great act who will go far, there are people looking up to the North for those who can push Rock and Indie forward – that is where the best and sharpest have resided, traditionally. Even if it were the case the best Rock artists are based in the South (which it isn’t); it is giving undue and disproportionate attention to one part of the country. There are fantastic clans and sounds coming from Manchester, Leeds and Sheffield.

IN THIS PHOTO: Kate Tempest

The Mercury Music Prize showed the panel were aware of the need to include multiple genres and sounds – they forgot to include many artists north of the capital. Blossoms, alt-J and Ed Sheeran were, I think, the only northern-born acts – I know Sheeran is based in London these days. There is a definite division and it isn’t a binary conflict, either. The Midlands, Wales and Scotland are worthy and fully-stocked. In fact; take away London and you’d still have an absolute army of incredible music – this is not being covered in the media as much as it should be. There is a definite need – in the same way we want racial and gender equality – to show parity regarding geography. As much as I love the sounds coming from London: there is no denying artists based outside the capital are…

IN THIS PHOTO: Mercury Music Prize-nominated band, Blossoms

WAITING to have their voices heard!

FEATURE: A Desire to Challenge the YouTube Hierarchy: The Music Vlog Vacuum in 2017

FEATURE:

 

A Desire to Challenge the YouTube Hierarchy:

PHOTO CREDIT: Unsplash 

The Music Vlog Vacuum in 2017

________

ONE way to make my prolific writing less tiresome on the fingers would be…

to visualise and video my ‘musings’. I feel the music industry is in an odd place where there is unparalleled growth in terms of artists and sounds: the nature and dominance of the media are going through troubled times. The printed music media is struggling a lot right now. There are established music magazines like MOJO but publications such as NME have been through a problematic last few years – declining sales and the need to be free to the reading public. It still puts out great articles and interviews but found it was unable to generate sales figures as lofty as once was. I look around newsagents and find far fewer music magazines than once was. As I said; there are established survivors who still have a loyal clientele. One of the issues seems to be the digitisation of the music press. I have raised concerns around the lack of working-class journalists at broadsheets and at music magazines – things seem to run deeper! The sheer viability and profitability of the music press are compromised. One sees a lot of blogs and music sites but these are run as inexpensively as possible. I worked for one, The Metropolist, a while ago and that had to close because it could not afford to run – offering tickets to reviewers but unable to make money back; struggling against the competition with those who worked there unable to balance it with their paid jobs. It seems music journalism, as with music itself, is being streamlined to blogs to writers who have to subsidise their passion with a full-time job – spending their free hours producing as much as possible. I feel the music media is having to adapt to the modern world and the lack of monetisation chances and profitability. We are buying fewer magazines and newspapers; we can get our content online but, those who run sites, can hardly justify charging people to read content.

IN THIS PHOTO: The popular YouTube vlogger/musician, Emma Blackery

I struggle to write enthusiastically because I know, deep down, I want to go to gigs and go more into live reviews. Travel, trains and gigs cost money – it is very hard attending gigs regularly and being able to afford that sort of pursuit. I, and many others, run blogs and sites with no overheads and as modestly as we can – relying on the written word for the most part. It seems there is a natural gap in the market for music media/journalism to move sideways. I look on YouTube, and their most-popular channels, and there is a dominance of very narrow markets. By that, I mean a few specific industries and sectors are dominating the channel. Usually, when seeing vlogs/YouTube channels they are split into three/four areas: beauty blogs; lifestyle writers and pranksters - video game vloggers are popular. Even popular YouTube talents like Emma Blackery – who is a successful musician in her own right - fills her channel with personal videos and content that is not exactly substantial. She talks about her music in the minority and posts performances here and there – that is outweighed by insignificant and common day-to-day videos; pieces that appeal to her pre-teen/teenage audience (mainly girls). Do a search of the best/most-popular vlogs and there is really nothing about music – in a practical and inspiring sense. We have a lot of music journalists working on radio stations – providing music news and content – but very few assimilate and integrate that talent/desire into YouTube/Vevo. I wonder why there are few/no music journalists and channels combining all elements of journalism into a channel. Look at the mass of beauty bloggers and few are offering anything distinct and different! One can get a similar flavour from most of them – one or two do stick out but they are in a heavily-saturated market. The same is true of pranksters/lifestyle vlogs which are filled with immature stunts, pointless commentary and insignificant crap – hooking viewers in and offering them very little in the way of meaningful material.

Elsewhere; there are more intelligent and inspiring vlogs/channels that talk about film and the arts – I am seeing more film vlogs and T.V. channels. This gives me a lot of encouragement but, again, where are the music commentators?! I hesitated entering that sphere because, I assumed, the field would be packed with aspiring D.J.s, journalists and musicians talking about everything in the music industry. Unless I am going blind…I cannot see that many out there. Buying filming equipment and shooting videos would not cost THAT much – it is a static cost and not prone to depreciation, taxation and inflation. I guess, for many, there is that initial fear of poverty. The reason so many beauty bloggers succeed is that they already have sponsors and marketable assets - enough money and supporters to ensure they can fund their ambitions and get an impressive revenues stream. Journalists, unless you work for a newspaper or magazine, are unpaid (or low-paid) so, when they try this sort of thing, they have to use their own monies – working full-time and finding whatever time they can to put together videos. I feel there is a gap and, if we want the music press to inspire and connect with the next generation, move laterally/unilaterally into places like YouTube. I am a traditionalist and prefer my music in print form but am not naive enough to ignore websites and blogs – they provide me with content, musicians and inspiration on a daily basis. So few journalists are innovating a drive of music-based vlogs. There is so much possibility and scope to start a new trend and add a kick and fresh impetus into music journalism. A channel – not sure what it would be called – could do weekly interviews with new artists (a one-on-one series that is a mix of Desert Island Discs and a traditional radio interview). It would put a face to the artist and be a chance for them to perform live and talk about music.

IN THIS PHOTO: The immensely popular fashion/lifestyle/beauty vlogger, Zoella/PHOTO CREDIT: Zoella

We could have a series dissecting classic albums and how they made an impact on music – playing videos/tracks from the album and interviewing people regarding their love of said record. There could be a weekly review segment and a daily news section – keeping people abreast on all the music happenings from the mainstream and underground. Uniting the unsigned and famous is something few blogs/sites do so that would be a niche – featuring new and under-the-radar musicians but blending that with the elite and best from the charts/mainstream. I worry journalists and music writers are overlooking the financial and creative possibilities of YouTube and Vevo. The only reason beauty blogs and lifestyle vlogs have taken over is that they saw a market desire and got themselves out there. Music is more popular and widespread than beauty and food, for instance – the huge number of food vlogs is troubling and utterly baffling! Music is this universal language, I feel, would benefit from more exposure. There are a few music vloggers but nothing that comprehensive and all-under-the-same-roof. I have suggested a few possible ideas and regular features but there is so much more that could come in. That lofty platform deserves depth and serious content. Talking about issues musicians face would attract people in - addressing anxiety and small venues closing; the struggle to make money from music and the issues of sexism and racism in the industry; the lack of working-class journalists and other imbalances. This, paired with lighter content, would broaden the demographic of subscribers and offer something real and inspiring. Before you know it; there is a stocked and varied channel/vlog that would draw punters in! The fact the channel would start on modest foundations might put people off – the risk that, unless they are trending and noticed right away, they cannot afford (in terms of money, effort and time) to maintain a channel.

IMAGE CREDIT: NME

It seems like such an obvious idea but makes me wonder why so few are doing this?! If they are then it is rather quiet and needs supporting channels – to challenge the prolificacy and dominance of beauty, lifestyle and food vlogs. Those channels offer useful advice and inspiration to many but, when you look closely, there are so many doing very similar things. It is hard knowing who to follow and what to believe. The biggest stars command absurd sponsorship backing and rake-in millions a year. The biggest YouTube stars – two more nauseating words have not been put together! – make bucket-loads and get huge brands following them. If they have a talent and are changing the world then you would not begrudge this success and richness. The truth is very few – who get big money and are stars – actually warrant that kind of pseudo-celebrity. Music journalists do not want to be famous themselves: they are more concerned with music and the artists they feature. Perhaps that is an issue: where do they get sponsorship and finance from?! Their channels, given an adequate promotion drive, would get people in but how do you monetise that?! Subscription fees might be unreasonable because people can get music content for free. It seems there is a chance for tech. giants and record labels to get involved – those with a lot of money to put funds into something worthwhile! The new iPhone has just been launched - it whipped up the usual circus of technology-obsessed zombies and appeals to those who want something shiny and new – but they used a few musicians (Blackery included) in their marketing and promotional video. The link between technology/Smartphones and music can be linked to platforms like Spotify and Apple Music – where many musicians are featured and are integral to iPhone/Smartphones. A music vlogger could pair with Apple or another giant and, in exchange for financial backing; the commentator/vlogger could promote the brand or find a way of incorporating iPhones/technology into their features.

IN THIS PHOTO: Chilean YouTuber Germán Garmendia (with Lenay Olsen) is one of YouTube's biggest stars - but is more noted because of his video game videos (even though he is a musician)/PHOTO CREDIT: Getty/Frazer Harrison

The same goes for the big record labels – they would pay the ‘star’ money for featuring their artists and running a bit of advertising on their behalf. That may sound unethical and a bit corporate but, for a site like this to expand and succeed, one must make moral compromises. It would not be too questionable: simply a bit of business so a music vlog could strengthen and rival the biggest vloggers out there. More importantly; music is there to inspire and compel the generations – journalists are, with musicians, the arbiters and spokespeople responsible for getting the messages to the people. I think a comprehensive and fun vlog could, in time, draw millions in and get international recognition. It could work with mainstream stars and huge acts; build popular features and provide every sensible music-lover everything they need under one roof! I will end this but have spotted a market and opportunity that has not been filled. Now, more than any time, music journalism (and music itself) has a big voice to play and has so much to say! There is so much going on and wonderful music in all corners: issues that need tackling and the desire to preserve legendary/classic music and ensure it is bequeathed carefully to new generations – a lot of it is in danger of being overlooked as streaming platforms put more emphasis on what is trendy and new. I have merely scratched the surface but there is a chance to build something new, inspiration and, yes, profitable! I would like to see not one but several music vlogs and journalists challenging the biggest fashion/beauty/food vloggers - that provide YouTube/Vevo’s ‘most-popular’ lists a rather homogenised and samey feel. Music is much more powerful, worthy and fascinating so, my hope is someone – I will do it if I can – fills a gaping void and makes a difference. The fact is the music press is struggling in printed form. A lot of blogs and websites are not getting people hooked and are there is a consensus to conserve the sacred form without compromising ethics. A YouTube channel would not need to make many modifications in order to provide a more financially-lucrative and multimedia channel for music fans. I predict it would start a mini-revolution but it requires that originator and pioneer. So, with that said…

PHOTO CREDIT: Unsplash

WHO is it going to be?!

FEATURE: Chills, Thrills and Goosebumps: How Music Evokes Different Reactions

FEATURE:

 

Chills, Thrills and Goosebumps:

ART CREDIT: Sam Chirnside

 How Music Evokes Different Reactions

________

I am fascinated the way music hits and how our mind and body…

PHOTO CREDIT: Unsplash

interacts with sounds. I often wonder whether memories, and music that evokes such powerful ones, unlock a bigger rush and hit than new music – those songs you need time to attach to. The reason for going into this area is a recent study that showed, if you get goosebumps when listening to music – your brain might be wired a bit different. I will quote from Tone Deaf -   who explain things a little better:

“It’s a feeling many of us know well: that shiver down the back of your spine as your favourite song hits its crescendo, the hair standing on end on your arms as your breath shortens. It seems a simple thing, but apparently this visceral reaction to music may tell us something about the way our brains work.

The reaction described above isn’t something that happens to everyone, but as Consequence of Sound reports, a new study published by the Oxford Academic finds that people who experience strong physical reactions to music may be wired differently to those who only react to music internally, and may be open to experiencing a wider range of emotions.

Conducted by USC PhD student and musician Matthew Sachs, the study finds that people who are impacted by music in this way “have a higher volume of fibers that connect their auditory cortex to the areas associated with emotional processing, which means the two areas communicate better.”

 The study was only quite small, working with two groups of 10 students, one of which reported feeling chills when listening to meaningful music, and the other which claimed it did not. By utilising brain scans of the two segments, researchers found that not only did the ‘shivers’ group experience more neural connections in the auditory cortex, responsible for processing our hearing, but they also experienced an increase in the emotional processing centers and the prefrontal cortex – the latter of which would be involved in thinking about the meaning behind the song, the former concerned with the emotional side.

For Sachs, the small study was only a first step in finding out more about if and how the phenomenon is linked to differences in emotional capacity, and “individual differences in sensory access”, with plans to continue the studies in the hopes of using the findings to treat depression”.

This is not a new study but it does show how powerful music is: the way it impacts different brain-types and personalities is fascinating. This is not the only study – I shall introduce a couple more later – but, when it comes to lifting the mood and tackling depression, should we be harnessing music more emphatically? I was intrigued when reading the new study as few of us think about the neurological connection with music – how our neurons and the temporal dynamic build-up develops over time.

That intravenous flow of music, once in the bloodstream, works its way to the brain and, once there, squirts into all the crevices, avenues and side-streets of the mind.  When one gets shivers and goosebumps listening to music, obviously, it causes us to calm and relax. Any anxiety and stress, at that moment, dissipate and demure. That might return but it seems, to me, music has a potent part to play when tackling psychological and neurological illnesses. Maybe the illnesses are too complex to be adequately targeted but music can allay and calm some of the worst symptoms. Music is such a vast and deep subject: deciding which pieces elicit certain triggers can be discovered through extensive experimentation and trials. Many have been run but, in a nation where mental illness is taking off at an uncontrollable level, it seems now, more than ever, more time and money needs to be directed towards such a scheme. I will share my experiences and thoughts but, before I do, an article for your delectation - that was published last year:

“We predicted that if a person were more cognitively immersed in a piece of music, then he or she might be more likely to experience frisson as a result of paying closer attention to the stimuli. And we suspected that whether or not someone would become cognitively immersed in a piece of music in the first place would be a result of his or her personality type.

PHOTO CREDIT: Unsplash 

To test this hypothesis, participants were brought into the lab and wired up to an instrument that measures galvanic skin response, a measure of how the electrical resistance of people’s skin changes when they become physiologically aroused. Participants were then invited to listen to several pieces of music as lab assistants monitored their responses to the music in real time.

Examples of pieces used in the study include:

·         The first two minutes and 11 seconds of J.S. Bach’s “St. John’s Passion: Part 1—Herr, unser Herrscher”

·         The first two minutes and 18 seconds of “Chopin’s Piano Concerto No. 1: II”

·         The first 53 seconds of Air Supply’s “Making Love Out of Nothing at All”

·         The first three minutes and 21 seconds of Vangelis’ “Mythodea: Movement 6”

·         The first two minutes of Hans Zimmer’s “Oogway Ascends”

Each of these pieces contains at least one thrilling moment known to cause frisson in listeners (several have been used in previous studies). For example, in the Bach piece, the tension built up by the orchestra during the first 80 seconds is finally released by the entrance of the choir—a particularly charged moment that’s likely to elicit frisson.

As participants listened to these pieces of music, lab assistants asked them to report their experiences of frisson by pressing a small button, which created a temporal log of each listening session.

 PHOTO CREDIT: Unsplash

By comparing this data to the physiological measures, and to a personality test the participants had completed, we were—for the first time—able to draw some unique conclusions about why frisson might be happening more often for some listeners than others.

Results from the personality test showed that the listeners who experienced frisson also scored high for a personality trait called “openness to experience.”

It seems, in all these studies, Classical music is used as reliable samples. I can understand why these pieces evoke an instant and tangible reaction: sweeping strings and delicate piano motifs; scores that provoke all manner of deep emotions and violent scenes. Without a word being sung; a fantastic Classical articulation can mobilise shivers, goosebumps and tease in an orgasm of biblical proportions. The same, actually, can be said of Jazz. A terrifically sensual and primal blast of horns can get right into the heart and make the head spin. Is it, then, the instrumental passages that are responsible for those vivid reactions? I am surprised as many as a-third of people do not possess the ability to be that moved by music. I guess there is no D.N.A. coding imprinted from birth – we all react differently to music. Some suggest a deeper immersing into music – people who intellectually bond with artists – means one gets greater nourishment and connection. That makes sense: if you properly listen and conspire with music; you are going to be more immune to its full beauty and potency.

There have been few songs, in the past few years, that has moved me to such a heart-stopping and hair-raising reaction. A few Folk numbers make me smile, sigh and shiver; a couple of great vocal performances create goosebumps and near-tears exposure. It is hard to predict what song will cause me to lose my senses and surrender to its majesty. It does not have to be something as obvious as Classical music. I can listen to a new track on a BBC station and, whether a sublime vocal or great guitar riff, I will have that candid response. I can definitely reveal I am among those who are moved to the point of shivers and goosebumps. It is a wonderful thing to experience but I feel, adding my opinion to the debate, there is a childhood dynamic. The same way we can be taught morals and a certain talent: we can learn to respond to music in such a way we have physiological side-effects. I am sure my passionate exposure to music, when a child, is why I can produce goosebumps with ease. I am sure that inherited neurology and a predetermined propensity to these responses means, in some way, certain people are hardwired and encoded from birth. It is not the case those who are now immune cannot, with a little change of diet and commitment, reach the same ‘heights’ as people like me. Many will say what is the big deal about experiencing goosebumps?!

I know they are temporary and cannot transform a human in radical ways. What is the biology and science behind these ‘frissons’ and shivers? NME, in an article in 2013, shed some light:

“The researchers (Valarie Salimpoor and her colleagues from McGill (Canada)
found activation in an ancient, centrally based brain system called the dopaminergic reward pathway; structures associated with pathway, such as the striatum and nucleus accumbens, were flushed with the brain-pleasing neurotransmitter ‘dopamine’ just before and during musical chills. This reward brain response is associated with motivation and addiction.

We typically experience this type of brain response to biologically rewarding stimuli; things that help us survive, like sex and high fat foods. Modern music does not really help us survive so it is effectively piggy-backing on this reward brain system. This system can also get hijacked by chemicals that modify mood. On the face of it therefore, this part of your brain reacts to sex, drugs and rock ‘n’ roll”.

It seems we have a primordial and caveman like lust to experience the rush and sexiness of music. Those who get shivers from Classical music, one feels, are having a different part of the brain stimulating than, say, a great riff or epic Rock song. There is that clash of beauty and passion that appeals to separate parts – each as powerful and important as one another. To me, the songs that get me shivering and goosebump-y are those that connect me with early memories. The first artists and albums I was exposed to were instrumental and formative.

From a sweeping and gorgeous Kate Bush song to the opening notes of The Beatles’ I Feel Fine – these notes and sounds connect me to my first encounter with the artists responsible. Hearing a song so many years down the line can instantly connect us with that first encounter. A song can cause shivers because of the memories it produces – that same song might not create the same reaction if it did not have that same importance. It is interesting taking that point and seeing whether memories are a more powerful tool than quality. What I mean is, when people hear certain songs/genres; do they get that stunned reaction because it unlocks something in their memory? I wonder whether I get shivers hearing I Feel Fine because I heard it as a child. Were I to hear it fresh today; I am not sure I would get the same response and effect as I do. That means it is the actual remembrance and connection with the past that causes shivers – not something inherently embeded in the song itself.

The introduction to Tears for Fears’ Everybody Wants to Rule the World makes me shiver because it is my first memory of life. I do not think I’d have that intense response if it was a new track. I think there is a lot of potential to be mined from music’s power and unique gift – when shivers and goosebumps form and calm the senses. Whether that materialises in cognitive therapy and some form of anxiety remedy or not – I feel we should not read studies and leave it at that. The fact we are getting new findings each year – the latest one dates back merely a few days – means people are interesting discovering why music can cause someone to shiver and stop dead. It is clear music, in various forms, genres and configuration, has an incredible ability and magic…

SO many people are fascinated by.

FEATURE: Mercury Rising: Dispelling the ‘Curse’ of the Mercury Music Prize

FEATURE:

 

Mercury Rising

 IN THIS PHOTO: This year's favourite, Kate Tempest (for Let Them Eat Chaos)

Dispelling the ‘Curse’ of the Mercury Music Prize

________

MANY articles have been written about the so-called ‘curse’…

of the Mercury Music Prize. For a start: curses do not exist. You’d have to be a credulous idiot to buy into such mythology and superstition. Anyone who, after receiving a nomination/prize, experiences a downfall in fortunes – that is nothing to do with the Mercury itself. Over the years, bands like Kaiser Chiefs and The Klaxon have sighed with relief having avoided the Mercury ‘curse’. I think this is nonsense and, in an age where we need to celebrate British music, pouring any scorn on an honour is disrespectful and foolish. I will look at the merits of the Mercury Music Prize but, before then, some evidence for the ‘defence’ (or the prosecution: I am not sure which side is which!). In 2006, The Independent ran an article investigating the ill fortunes artists faced – when they won or were nominated for the Mercury Music Prize.

“Because for all attention lavished upon it in the media, the Mercury Prize has acquired a well-established reputation for destroying its winners' futures. Of the previously triumphant, only 1992's inaugural winners, Primal Scream, have managed to make anything like a go of their subsequent career. Since then, the Mercury has become the Cenotaph at which is mourned the loss of a musical generation. Indeed, so deadly has the prize become, that it even managed to kill off its original sponsors. What this portends for current sponsors Nationwide, I know not”.

 IN THIS PHOTO: The Klaxons in 2006

The piece charted the event and some more-recent winners whose careers have taken a steady nosedive since winning the Prize:

“Ms Dynamite's win in 2002 instigated another example of over-exposure reaping the whirlwind of public indifference, when her follow-up album was a disastrous failure. Bookies' favourites The Streets, meanwhile, went from strength to strength. Dizzee Rascal's triumph the following year - clearly the result of the judges' desire not to reward such corporate white-boy rock types as Radiohead, Coldplay or The Darkness - was another case of prematurely raising expectations about an act of somewhat restricted appeal (what the Mercury website refers to as recognition of "brave, challenging music", now apparently a big part of its once simple remit)”.

I agree with some of the findings there. I can’t argue against sales figures and subsequent reviews. That cannot be blamed on the Mercury panel but the artists themselves. Another point raised – regarding celebrating minority artists and going against corporate acts – is contentious and something I will pick up on later. The piece mentioned M People’s bizarre and unexpected win in 1994 – in a year when Blur and Pulp released stunning, sign-of-the-times albums. That, to me, is an anomaly that was based on a rather poor casting – one cannot see that as a common recurrence and much-repeated mistake. There are other articles that bring up the curse element and how certain acts have been scarred by the honour of winning a great music prize.

The Guardian, back in 2007, highlighted The Klaxons as a particular example:

“In their acceptance speech on Tuesday at the Mercury prize, The Klaxons told a story about how we watched last year's awards while recording the album [which Ford produced] . It's true - we were thrilled that the Arctic Monkeys won it, and jokingly declared that it would be our turn the next year. When we finally finished the record we had a great sense of achievement, and knew we had captured something in those few weeks. But, as is always the case, we didn't have a clue what would actually happen.

Jamie (Reynolds, singer and bass player) mentioned to me that very few bands who have won the prize in the past have gone on to make a better album than the one which won it for them, and looking at the evidence, he certainly has a point.

Primal Scream, were the winners of the first prize in 1992 with Screamadelica, and although they've produced consistently good albums ever since, it would be fair to say that none have been era-defining like that fantastic record. Suede, the next year's winners with their eponymous debut, would be the first to admit, I'm sure, that nothing that came after was its equal.

Elegant Slumming, M People's winning effort in 1994 is hardly noteworthy enough to use as evidence, but it is worth remembering that it somehow beat, among others, Blur's Parklife and Pulp's His 'n' Hers. Blur's career certainly didn't suffer by not winning the award, and they've become one of our most enduring and important bands - but who knows what would have happened if they'd won it ...

 When you look through the rest of the roll call of winners right up to the Klaxons' win, then, there does seem to be a strange consistency to the argument: Portishead's Dummy in 1995; Gomez's Bring It On in 1998; Badly Drawn Boy's The Hour of Bewilderbeast in 2000 ... after this point in the timeline you have to be wary I think, because it's the recent past, and you wouldn't, for example, bet against Franz Ferdinand's third album being an absolute gem”.

All of the examples listed there have nothing to do with winning an award and everything to do with the act not being able to better their finest album. If, say, Ms. Dynamite, Badly Drawn Boy and M People were unable to capture the magic and peak of their Mercury-winning moment then that is their own problem. It seems ungrateful to say the Mercury Music Prize is a curse and something that will kill a musician’s career. Taking M People’s 1994 win (for Elegant Slumming) and there have been few truly shocking decisions in its history. The reason we have not heard much from Roni Size (winner in 1997), Talvin Singh (1999) and Speech Debelle (2009) is because, when they won the award that year, there were quite unknown and under-the-radar. They were not huge acts like Radiohead who, being on such a peak, faded into obscurity – these artists were not huge and exposed so it wasn’t a big shock to see they could not ascend to the dizzying heights of superstardom. All the examples journalists bring in as ‘cursed’ are artists that were never hugely popular and well-known. That brings in another question: is the Prize more about niche artists and less about popularity?!

IN THIS PHOTO: Talvin Singh/PHOTO CREDIT: @talvinsingh

One could debate whether notable omissions – from Pulp and Radiohead through to The Prodigy – were excluded from the top honour because the panel wanted to embrace a less-recognisable act. This is a contentious point but I feel there needs to be a blend of commercial acknowledgement and underground championing. If one were to celebrate all the biggest acts every year that would not give smaller acts a chance to be championed. It is a hard balance to get right but one, I think, has been struck since 1992. Since Primal Scream scooped the first Award; very few of the artists nominated have disappeared and seen a huge stutter. The artists seen as part of this ‘curse’ were never destined for future greatness and huge prosperity. I feel a couple of reasons why certain acts disappeared quicker than one would have hoped is because of the direction they took on the follow-up album – and the way a career can go under natural circumstances. Artists like Dizzee Rascal (winner in 2003 for Boy in da Corner) took a more commercial route in future years and ensured he would survive and endure longer than many would have predicted - the fact his 2017-album, Raskit, is a return to his debut shows what one needs to do to keep relevant and unexpected. A few artists – Ms. Dynamite and Talvin Singh – won the award for great albums but failed to progress their music sufficiently. That would have happened with or without the Prize. It was not as if they won on that night, went back to their hotel rooms, and set out to destroy their careers.

IN THIS PHOTO: Previous nominee Gemma Hayes

Each of them could have kept a level-head and continued to make the music they felt best represented them. Ms. Dynamite’s Judgement Days (2005) contained a lot of anger and preaching – critics off-put by the aggression and harsh tones of the album. That is not a sound/direction that comes with winning an award like the Mercury. The panel did not stipulate any winner become the self-appointed voice for disaffection and scold everyone within sight. Maybe Ms. Dynamite felt an edgier and more attacking sound would be a natural evolution – again, that is her decision and not one mandated to her victory. The same goes for Singh who, on 2001’s Ha, stepped into a more detailed, experimenting direction – irregular time-patterns and two-step beat patterns meant many did not connect with the record. Maybe he, in zeal to distance himself from his previous album and do something different, made a bad decision but, again, that is down to him. Bigger artists – who have a lot more pressure on their shoulders – made better choices and managed to survive and grow. Suede, Pulp and PJ Harvey all took the Prize in their stride and crafted many more great album. We can put to bed the nonsense that is the ‘Mercury Curse’ because, quite clearly, a few minor artists taking a fall do not warrant truth or any real shock. What I wanted to talk about is why it is a prestige and honour winning an award.

IN THIS IMAGE: Gorillaz

If Gorillaz and The Klaxons felt they avoided a curse by dodging the Mercury then that is their ingratitude – The Klaxons are all-but-done and Gorillaz have struggled to rekindle the epic quality of albums like Demon Days. I look at some modern success stories such as Benjamin Clementine and Ghostpoet – his album, Shedding Skin, was his second nomination – and the confidence they acquired after being nominated/winning. Both artists could be considered, at the time, underground and not normally named at award shows. One of the things that impressed me about the Mercury Music Prize is the recognition of different genres. I will end by looking at this year’s list but, by the year, they have steered away from the big commercial successes and tipped their hat to acts who perform in less-exposed genres. From Grime and Rap through to Experimental: artists one might not have normally known about are elevated and brought into the public sphere. That is great as it makes people aware of music’s full range and rebels against award ceremonies that celebrate Pop and Rock – offering no diversity or interest. There are some that say the Mercury Prize does not go too far. They claim genres like Metal, Trance and Folk deserve more of a say. I agree regarding Folk and one of the biggest mistakes of this year’s Mercury nominations is the exclusion of Laura Marling – surely Semper Femina is among the year’s best albums?! Folk artists have chances to claim merit – there are Folk award shows and prizes – and there Metal acts have time to shine. One cannot recognise every genre - as that would not work.

IN THIS PHOTO: Laura Marling

Maybe the Mercury Prize will assimilate heavier artists down the line but, right now, they are as inclusive and varied as I have ever seen. A reason why the Mercury Music Prize does not include many Metal and Trance albums, say, is sheer quality. We do not see these artists reviewed and played on bigger stations; they are not creating albums that are among critics’ very best – therefore, they do not warrant a place on the shortlist. If a Metal band did release a year-defining album then, yes, they deserve a Mercury nod. It is pleasing seeing a lot more black artists being included on the Mercury minds. In past years – at the start when bigger, white artists made up the shortlist – it was seen as homogenised and too beholden to the biggest bands around. Now, fewer mainstream acts are included and there is a definite embrace of minority artists – playing in genres that are ordinarily consigned to the back of music magazines. Critics argue the Mercury Music Prize is too eager to give the award to niche acts in an attempt to show they are cool, all-encompassing and outsider. That is not true as, in the past five years, we have seen everyone from James Blake (2013’s Overgrown), Benjamin Clementine (2015’s At Least for Now) and Skepta (last year’s Konnichiwa) being given the gong. PJ Harvey and The xx are all winners this decade so one can see broadness. A lot of the nominees have been minor and ‘unique’ in terms of their sound and artistry.

IN THIS PHOTO: Benjamin Clementine/PHOTO CREDIT: Steven Pan (GQ)

That is good because we get to open our minds to music we would not have otherwise of heard. In an age where music is criticised for its lack of diversity and equality: how can we choose to criticise an award that embraces musicians of different genders, races and genres?! Some of the bigger award shows still go after the famous and commercial – that is not the case with the Mercury Music Prize, you see. On the point of the ‘curse’ and the falderal that follows that; one can argue bands who have won it have been given a boost and the confidence to create bigger work. When Elbow won in 2008 (for The Seldom Seen Kid); they were given an enormous boost and transcended to arena-sized titans who were elevated to the forefront – the fact they beat away competition as stiff as Radiohead and Laura Marling that years shows what a feat it was! The twenty-grand cheque that comes with the award, some say, should not go to acts who are wealthier and bigger. They cannot make exceptions based on bank balance but, for acts like Benjamin Clementine, it is a much-needed financial boost that ensures he can put that straight back into his music. The biggest positive regarding the Mercury Music Prize is the variety of albums it nominates. Last year saw an eclectic line-up that featured Radiohead, Laura Mvula and The Comet Is Coming; Bat for Lashes and Savages were all there! A broad and exciting variety of music and artists.

IN THIS PHOTO: The Comet Is Coming

I was interested to learn about The Comet Is Coming and Savages: two bands I was not overly aware of and, since, have become fans of. The same goes for 2015 when Wolf Alice and Eska were nominated – Wolf Alice are preparing a new album and preparing for a fresh assault on the music landscape. This year, if anything, the voting panel has taken the biggest sweep of music’s spectrum yet. When Ed Sheeran was announced as a shortlisted name this year; many, myself included, were miffed. His album, % (Divide), was not a huge winner with critics and many feel it is a further leap into the beige and boring. Again, with alt-J and Blossoms being nominated – Relaxer and Blossoms are two albums that gained plenty of mixed reviews and are not records that stay in the head. If one argues a pure quality-reception argument: should we exclude these three albums in favour of something stronger and more acclaimed?! I was confused and I saw all those pieces claiming the Mercury Music Prize had lost its way and edge. I disagree with that because, as we can see from the Shortlist, Kate Tempest (Let Them Eat Chaos is favourite), Sampha (second-favourite for Process) and Loyle Carner (Yesterday’s Gone) are all in the running – and are the three frontrunners. J Hus is out there and Stormzy is included – the second year a Grime star is among the chasing pack. The fact there are two, maybe three, less-than-edgy artists among the nominated is not indicative of a dumbing-down and a lack of awareness.

The perspicacity debate could be extended to ask why Sleaford Mods, Laura Marling and Jane Weaver did not get nominations?! The fact one or two more female musicians would have provided greater gender-balance – most of the nominees are men – might have been a wider choice. I have reviewed my initial scepticism and know it is another evolution for a Prize that needs to reflect the fullness of music and recognise commercial artists are worthy of inclusion. If you keep repeating yourself and nominate the same genres/sounds; that is not a smart decision. The fact Ed Sheeran and Blossoms do not have a chance of winning it will be a relief to those who have questioned their inclusion. It is, as you’d expect, the finest and strongest selections from the shortlist that are wrestling for the Prize. In fact, it is a congenial and pleasant build-up. Kate Tempest has nodded to Sampha and Loyle Carner (and Stormzy); they have nodded back and there is no sense of competition and pressure. Kate Tempest, as the favourite, shows there is no curse and expectation when one is nominated. Her debut album, Everybody Down, was included in 2014’s Shortlist and it narrowly missed out. If she had won; things would not have been worse for her – in fact, it might have afforded her the chance to grow stronger quicker. This year’s mix, pleasingly, brings ‘truth-telling’ artists to prominence – those who are talking about what is happening in life and the realities of modern Britain.

IN THIS PHOTO: The album cover for Loyle Carner's Yesterday's Gone

Music, at the moment, lacks those essential voices unafraid to tackle the mess in which we find ourselves. Kate Tempest and Stormzy – Loyle Carner, for that matter – are bold and vital voices that have been given a boost and sense of essentialness with their nominations. Alongside the much-discussed are the outsiders, The Big Moon and Dinosaur. This year’s rundown features a pleasing blend of commercial/mainstream; popular leaders and the outside runners – just what an award show should be about. The Big Moon’s Love in the 4th Dimension is a solid and compelling work from a fantastic female band. They are an Indie-Rock band ensuring there is promise and relevance in guitar music this year – and proving female Rock/Indie is among the very best out there. Their nomination shows the Prize is not about the boys and mainstream elite. The same can be said for Dinosaur who, led by Laura Jurd, are a blazing Jazz ensemble - in many people’s minds. It is debatable how many of would have missed out on an album like Together, As One, were Jurd’s clan not nominated. It is a fantastic Jazz odyssey that features so many ideas, textures and highlights. Naturally, it is unlikely the album will win – as the outsiders usually do not – but that is beside the point. The very fact it is nominated is a big thing and will give Dinosaur the confidence to keep recording and reaching. If an artist knows they are worthy of such an honour; they will keep pushing and striving – that is not to be sniffed at and a huge thing for any act.

IN THIS PHOTO: The Big Moon

One cannot associate any curse with Dinosaur’s nomination as, were they not monitored, many would not know they existed – therefore, unaware of their relative failure/decline. The Big Moon will get much motivation from their inclusion – they are outsiders, too – but it shows the panel is thinking more about equality, diversity and progression. I agree there are some notable omissions but one needs to draw the line somewhere. Whoever wins the Prize tomorrow – I am torn between Loyle Carner and Kate Tempest – it will be exciting to hear. Nobody should question a time that celebrates the best British music in all its variations. We are divided as a nation so should not split and quarrel over something like the Mercury Music Prize. It celebrates the quality and depth of our music and, whilst it does have some odd inclusions, the panel has brought the Prize into 2017 and seen we need to acknowledge Pop/Indie artists that would not normally get an inclusion. If we are including Dinosaur then why not Ed Sheeran?! Neither will win but they have been included for the effect and impact they have made on music – and how different they both are as artists. My Mercury Music Prize playlist (below) chronicles winners and nominees from 1992 to the present-day. It shows what magnificent music our best artists have produced. Good luck to all the nominees and do not give credence to any talk of ‘curse’ and misfortune. The winner will continue to make great music and the nominees, if they do suffer any dip, have to shoulder that responsibility – most will go on to great things are afforded the exposure to grow and…

IN THIS PHOTO: Kate Tempest

CREATE incredible music for years to come.

FEATURE: Strum und Drag: Has Guitar Music Lost Its Innovation and Relevance?

FEATURE:

 

Strum und Drag:

 PHOTO CREDIT: Pinterest 

Has Guitar Music Lost Its Innovation and Relevance?

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ONE of the biggest changes I have noted about modern music…

IN THIS PHOTO: Wolf Alice (one of the most impressive British bands of the moment)/PHOTO CREDIT: Getty

is the transition from guitar-based songs to other forms of sound – modern electronic-produced music and variations. Maybe I hark to better times like the 1990s: the last real explosion of profitable guitar-based music. I suppose bands like The Strokes and The Libertines had relevance and pull over a decade ago – the scene seems to have dwindled since then. Not only has the value and strength of the electric guitar waned: acoustic songwriters are not as impressive and prominent as once were. The excitement has gone out of this side of music. What are the reasons behind this, then? Before I look at tastes, guitar lessons and the examples set by the mainstream – a quick glance at guitar sales from the U.S. Looking at a piece from the Washington Post - and it seems fewer people are picking up the guitar:

“The numbers back him up. In the past decade, electric guitar sales have plummeted, from about 1.5 million sold annually to just over 1 million. The two biggest companies, Gibson and Fender, are in debt, and a third, PRS Guitars, had to cut staff and expand production of cheaper guitars. In April, Moody’s downgraded Guitar Center, the largest chain retailer, as it faces $1.6 billion in debt. And at Sweetwater.com, the online retailer, a brand-new, interest-free Fender can be had for as little as $8 a month.

 Over the past three years, Gibson’s annual revenue has fallen from $2.1 billion to $1.7 billion, according to data gathered by Music Trades magazine. The company’s 2014 purchase of Philips’s audio division for $135 million led to debt — how much, the company won’t say — and a Moody’s downgrading last year. Fender, which had to abandon a public offering in 2012, has fallen from $675 million in revenue to $545 million. It has cut its debt in recent years, but it remains at $100 million”.

That article was written a few months ago and provides a small glimpse into the problem we have. If one looks at the breakdowns by manufacturer and type – acoustic and electric guitar – and one notices sales figures are declining and troublesome. I suppose interest in the guitar starts at childhood: are children asking for guitars as presents? Maybe the rise of modern technology means one can simulate the guitar without having to pick one up – many youngsters are asking for tablets and various gadgets for presents; as opposed to more conventional and traditional gifts. I remember asking for an acoustic guitar when I was younger – I failed to master it within hours so, naturally, disposed of it! – and that makes me wonder why there is a bit of a dip in fortunes.

PHOTO CREDIT: Unsplash

What commentators are noticing is how, even though there is a sales-dip; the electric guitar is out-selling acoustic. I will come to look at artists who might inspire this but it is interesting fewer guitars are making their way into the hands of our potential musicians. Perhaps prices are too high and patience is low. Does one have the discipline to learn the guitar and master their craft? Every year we embrace technology more: the less time we explore instruments and handle anything physical and challenging. There are those keen to preserve the self-taught method – fewer people are going to guitar tutors in 2017. I worry fewer children are getting into the guitar: fewer are taking up piano and it seems music learning and fascination is moving in another direction. Music is in a strong state but I can see certain genres fading – other styles coming to prominence and replacing the old order. Maybe the sheer dedication and cost needed to learn the guitar is putting many off. Even a decent acoustic guitar can set one back £100 or more. You put lessons into the mix and, before you have recorded a song, your wallet is considerably lighter. A lot of our music academies and schools are promoting courses like Production and Vocals – guitar not as emphasised as previous days. Technology, as I say, makes it easy to replicate guitar sounds: musicians and the curious are producing entire songs on tablets and laptops.

IN THIS PHOTO: Goat Girl (another guitar band who have the potential to add potency and potential to the scene)

Electric guitars, in my mind, have always been featured in bands – fewer solo artists play them. The opposite is true of acoustic guitar, so, perhaps, it is easier succeeding as a solo artist? There might be some truth there but all of these debates and findings can be linked to what one can observe in modern music. I will bring in an article from Guitar Player – who go into extreme depth about the decline (or uncertainty) of guitar music. What I find is there are two types of guitar-playing musician: the acoustic-strumming solo artist and the electric guitar-fuelled band. Sure, there are solo artists who play electric guitar – fewer bands with an acoustic element; maybe Americana and Country acts – and a real split between the mainstream and underground. I am hearing a lot of promising guitar bands who are unsigned and away-from-the-mainstream. Plenty of acoustic solo artists capable of providing something deep and meaningful – tinged with energy and exciting. The reason many people take up instruments is down to their favourite artists - on the radio and in the charts. When was the last time we got really excited about guitar bands?! For every underappreciated IDLES, there is an overrated Royal Blood – there is a quality imbalance that means few people are excited about guitar music. I want to review and look at the quality of guitar sounds but, before I do, a look at the Guitar World article:

“The intense pull of that rock-star dream was probably no different than our fervent desires to be astronauts, fighter pilots, or super heroes in our pre-teen years, but acquiring the skills to play guitar was infinitely more achievable than developing x-ray vision or indestructibility. So we got our hands on typically horrendously bad guitars and often suffered our way to competence—and, hopefully, a path to technical and creative excellence. And most of us have stayed dedicated to the guitar throughout the decades, and we will likely continue this devotion until our hands can no longer manage a ragged version of “Hey Joe.”

IN THIS PHOTO: Royal Blood (whose latest album, How Did We Get So Dark? failed to add much to their debut)

But this is a story of an age gone by.

 While society—and history—can be cyclical, there is no current globally seductive force such as “The Beatles,” “Jimi-Jimmy-Jeff-and-Eric,” “The Sex Pistols,” “Stevie Ray Vaughan,” “Nirvana,” “Unplugged,” or “Green Day” to drive an explosion of young people starting bands or solo acts and buying epic numbers of guitars and guitar gear. In fact, even if there were a 2017 version of “The Beatles on The Ed Sullivan Show in 1964,” would it be compelling enough to inspire Millennials to launch a million bands?”

There are still plenty willing to play the guitar but there isn’t the same sort of freshness and interest there was when I was young. Guitar manufacturers are developing products making it easier to learn the instrument – many become frustrated they do not have an instant aptitude and affiliation. One of the most pleasing aspects of guitar music is more women coming onto the scene. Bands like Honeyblood and PINS are putting female guitar players into the spotlight and inspiring others (women) to take up the instrument.

IN THIS PHOTO: Jimi Hendrix/PHOTO CREDIT: David Redfern/Redferns

Although there is sexism and imbalance in music: the shift away from a 'men-only' attitude to guitars is fading. That is a good thing but my concern is with the quality and excitement we have with guitar sounds – are the best of the bunch really pushing guitar music forward? It is great to see women tackling the guitar with as much passion as men – responsible for keeping sales healthy, if not spectacular. One of the main reasons a lot of girls/young women are picking up the guitar is artists like Taylor Swift. Times have changed so much - people are asking whether acts like Jimi Hendrix and Jimmy Page are as significant as Taylor Swift – when it comes to young people picking up the guitar. Ed Sheeran is someone who will inspire many to take up the guitar. Female artists are promoting videos on YouTube with more and more releasing music through D.I.Y. methods – streaming them online and avoiding the studio.

IN THIS PHOTO: Taylor Swift

Any interaction with the guitar is valid and impressive. I wonder whether the status and quality of the artists getting people into guitar music are leading a problem of blandness and generic music? My fear around guitar music’s health is more aimed at electric sounds and bands – fewer electric guitars seem to be making their way onto YouTube when compared with the acoustic guitar. I am pleased, regardless of who inspires it, more people are picking up the guitar. One can quibble and debate whether sales are falling significantly and whether fewer people are taking up lessons – I would argue there is enough to be worried about – but it seems traditional music shops are not as prolific as once they were. A lot of young players who arrive on YouTube focus on cover songs – few have their own material at that stage. One of the things that concern me about surveys – young women asked why they play guitar – are names like Taylor Swift and Ed Sheeran. They both play Pop music – albeit it different sides of the spectrum – and hardly the most exhilarating and original artists out there. I wonder whether the rise in acoustic guitar sales is because of great and reputable players – or those mainstream artists who represent the worst side of the industry. Taylor Swift is hardly known for her guitar chops so I wonder whether the fact she is famous and popular is more important than the quality of her music?!

IN THIS PHOTO: Ed Sheeran/PHOTO CREDIT: Ian Gavan/Getty Images

I grew up listening to bands like Oasis and Manic Street Preachers who, during the 1990s, created some of the finest music ever. I listened to a lot of the best bands of the 1970s; legendary 1960s examples and musicians who knew how to captivate and entrance. I am glad acoustic guitar artists like Ed Sheeran have a career but there is very little to get excited about. Many would argue acoustic music has never been exciting. That is contentious but, when considering the best artists, they were interesting, inspiring and different. Consider everyone from Joni Mitchell and Bob Dylan to Nick Drake and Muriel Anderson. They could write incredibly intricate and beautiful songs that got into the heart: the acoustic guitar a pivotal guide and entrancing component! I hear a lot of great underground/unsigned artists and have hope they will inspire future generations. Thinking about the current crop of acoustic artists and the mind goes to solo performers: it does, unfortunately, draw a few blanks. I find so many solo artists are relying on electronics or placing the guitar very low in the mix. Even artists who expose the acoustic guitar – Folk, Americana and Pop, for instance – struggle to create anything truly exceptional. There are exceptions but, for the most part, I find myself unmoved and bored by a lot of acoustic guitar music. The fingerpicking can appear limited and narrow; the melodies predictable and formulaic. Tastes have changed so we will never have another big Folk movement as we did in the 1960s and 1970s. The mainstream media are hooked on what is seen as ‘cool’ and ‘fashionable’ – how likely are they to feature newcomers and unsigned guitar players?!

IN THIS PHOTO: Oasis

One of the biggest problems at the moment is low confidence in the mainstream. There is too much sugary, stale Pop: genres like Folk pushed aside and, the best artists from that side, bringing in other genres and tastes. Some of the most influential musicians have all time have wielded an acoustic guitar – able to transfix listeners and create spellbinding lines. Where are the modern legends and those doing incredible things with an acoustic guitar?! You can see parallels when it comes to band-made electric sounds.  A lot of the guitar magazines and media hark back to the times of Jimi Hendrix, Eric Clapton and Jeff Beck. I wonder why we have very few modern equivalent and struggle to name any new electric guitar geniuses? The best I can think of – Jack White, Matt Bellamy and Queens of the Stone Age (if we are naming bands) – have been around for years and have already inspired millions. Where are their replacements ready to pick up the mantle? In the same way there are few acoustic guitar innovators: it is a stretch naming a lot of great Rock bands and guitar players who can get us truly hooked and seduced. I think of the best albums of this year and, aside from Queens of the Stone Age; guitar-led music is pretty low down the list – most of my favourite albums of the year are not guitar-heavy.

That is worrying when we are looking around for modern-day Eric Claptons and Jimmy Pages. We need to showcase the best guitarists out there and ensure guitar music does not die out. I am given hope seeing a lot of great female Rock bands emerge and some terrific Indie acts coming through at the moment. Most of them will struggle to break to the mainstream soon because there is still that demand for Pop and what is considered commercial. Away from those few bands here and there; one finds very few standout guitarists. Guitar magazines hark back to the old days and the guitar boys: there are a lot of great female newcomers and artists showing what they are made of. Is the fact we have a rather indeterminate and underfed guitar mainstream stem from the lack of exposure our best talent is afforded? I want to quote from the previous article which explores how education and guitar competitions might change the mind of the mainstream and magazines:

“The time-honored way to reach new players has been through education. The publishing industry is always a big part of that endeavor, and tech-oriented manufacturers such as BOSS, Fishman, Line 6, and others have long supported their artists and product managers getting out in the field and explaining how to make sounds with their gear. Many times, of course, these seminars correspond to a particular product, but, at times, also share general information on tone creation along with power-user tips.

 PHOTO CREDIT: Unsplash

Line 6, for example, offers its Tone Made Pro seminars around its Helix multi-effects processor for guitar, but details the building blocks of some classic tones during the discussion. The nuts-and-bolts details of tone construction by guitar heroes such as The Edge, Stevie Ray Vaughan, Jimi Hendrix, and others can certainly be transferred to digital processors by other manufacturers, and even accomplished in the analog realm if a player has the time and budget to col- lect a bunch of actual amps and pedals and physically recreate the signal paths learned in the seminar.

“For 20 years, we have analyzed every nuance of the guitar amps, cabs, and effects used to create the most recognizable tones ever,” said Marcus Ryle, Line 6’s co-founder and President. “Now, we can use this expertise to help guitarists expand their knowledge and create the next generation of legendary tones.”

Another route to seduce engagement is to inspire young players to share their music. Again, music publications often run contests where guitar stars and/or editors rate audio files or YouTube videos from solo artists and bands. The idea here is to provide a thrilling “end use” for a guitarist’s creative toil and trouble, and hopefully inspire them to continue working their way towards popular acclaim. (GP recently relaunched its Guitar Player Records imprint in order to provide players a professional venue to distribute their instrumental-guitar music.)

 PHOTO CREDIT: Unsplash

In a similar vein, Ernie Ball has produced its Battle of the Bands program for a few years now, inviting unsigned acts to vie for the opportunity to perform on big stages at major music events. Other companies also have competitions from time to time where bands can win gear, perform with their heroes, or get booked on killer tours—all for simply having the ambition to create some music and share it with either the public and/or their contest judges. 

On the face of it, these initiatives are directed at people who already have some facility with their instruments, rather than beginners. But a beginner could be energized by seeing a friend’s band win a contest, or intrigued by having someone enthusiastically relate what they had learned at a seminar. The trick here would be the next step: How do we transform that interest into action, and get the novice to risk picking up a guitar and trying it out for themselves?”.

IN THIS PHOTO: The Amazons (whose eponymous debut album failed to truly ignite)/PHOTO CREDIT: SHOT BY PHOX

Interesting points are raised but the fact remains: what we have in the public gaze is not good enough. Those acoustic artists that cause chills with their finger-picking and incredible compositions are a rarity. A few Folk albums from last year stunned me; a couple of great albums this year. Not only are there few standout acoustic guitar artists sticking in the memory: the genuinely great and promising are struggling to get their music played on popular stations. It is fine being inspired by musicians, but I fear big mainstream stars like Taylor Swift are not going to produce the next generation of guitar innovators – even if, in a good way, more girls get into the guitar because of her. Ed Sheeran is one of the world’s biggest Acoustic artists but his music makes me a little bored and disconnected Few of his songs contain great chord sequences and intriguing choruses; there aren’t the big names there once were or artists you feel a true bond to. Perhaps there are a lot out there: the fact they have not come to public attention means we need to make changes and addresses this issue. It is great seeing so many types of music and genres mixing alongside one another. I yearn to discover great acoustic guitar players who are saying something interesting. If the bland and commercial are the reason so many people are picking up guitars then that is going to create a pattern we will struggle to break. A lot of the most-popular guitar bands such as Foo Fighters and Royal Blood, in my view, lack real clout and originality. We need to unearth those bands, female or male, that can push guitar music to the masses...

IN THIS PHOTO: Girl Ray (a fantastic trio who mixes 1990s Britpop and modern Alternative in a dreamy blend)

A lot of mainstream riffs have teeth but lack nuance; the playing does not have the same electricity and richness as Eric Clapton, Pete Townshend and Jimmy Page – perhaps those are lofty ideals but it is possible to get to within touching distance of their majesty. Modern guitar music is not even close to that giddy peak. Worse than that; it is boring and instantly forgettable. I wonder why there aren't more guitar solo artists – like Jack White, for example – and band-music all blends into one another. I admit it would be naïve to assume there are no great guitar bands or solo artists – I can rattle a few names, at the very least. They are in the minority and a lot of those guitar acts we are force-fed are rather tired and routine. Paul Weller, in a recent article, was interviewed about guitar music - and his thoughts on its well-being:

“The former Jam frontman struggles to think of many rock bands that have caught his attention lately and says he is more of a fan of hip-hop like Kendrick Lamar, with the exception of singer/songwriter Lucy Rose and his pals in Syd Arthur and Savoy Motel.

He admitted: "I find it insipid at the moment. I can't think of any guitar bands, English bands anyway, at the moment.

"I quite like an American band called Savoy Motel; I like their last record. And Syd Arthur I really love - they're mates as well, I really like them.

IN THIS PHOTO: Lucy Rose/PHOTO CREDIT: Harry Wade/Press  

"Lucy Rose has got a new album coming out in the next few months that's really great. There are a lot of great individual records and individuals really."

On the R&B stars he is into, he added: "I like the J Hus single 'Did You See' - that's really good. Band-wise, nothing's really moving me at the moment, but there's some good R&B things. I like the Anderson .Paak record and I liked Kendrick Lamar's album."

Lucy Rose slipped my mind - but she is someone giving guitar music a good name. Like Laura Marling, Billie Marten and This Is the Kit – great female artists added something new and beautiful to guitar music. What of the bands and the new breed of heroes? Weller, as he says, prefers Hip-Hop and finds more innovation and relevance in people like Kendrick Lamar. Jim Reid, of The Jesus and Mary Chain, added his voice when chatting with NME:

“There’s not much of guitar music left at the moment, I don’t hear many guitar bands out there,” frontman Jim Reid told NME. “It’s kinda pushed underground, guitar music seems to be limping at the moment.

“You can’t tell the difference now between a pop act and a rock band, the production makes them almost identical.”

A big problem lies with what artists are talking about – and what they are not saying. A lot of the guitar wizards of the 1960s and 1970s were articulating a desire that was hanging in the air. Many of the 1990s’ best guitar bands were part of Britpop – at a time when a lot of working-class artists were speaking about what was happening in real life. In fact, a lot of the finest acoustic artists of the past engaged their audience with something relevant and deep. I find a lot of the modern acoustic equivalent is still hooked on love. Even those who do not remain on Relationship Road are not tackling what is happening in the world. This is true of guitar bands who are unwilling to venture from territory they feel is safe and profitable. We are in a state of confusion and separation and, whilst a lot of U.S. Hip-Hop artists – and some of our emerging talent like Loyle Carner – are reflecting what is happening in their country – where are those acts documenting the trouble in which we find ourselves?! It seems, as with America, our Urban artists are the most honest and conscientious. Too few guitar bands either shy away from such areas or feel ill-suited to adequately voice the stress and uncertainty percolating. Armed with electric guitars and a Rock/Indie spirit – one would hope a raft of bands would step up to the plate and provide the kick the music industry needs. In an article published by Music Radar, today, in fact; Eric Clapton's provided his thoughts:

“I didn't realise it was that bad,” said Clapton. “My kids listen to classic rock, but that may only be because of me, because that’s what I’ve played to them. I mean, from the time of their conception, they’ve been listening to music through the womb. I played them playlists, just brainwashed my kids, and at the back of it was always the guitar or some kind of solo instrument or a singer. 

“My belief in music is it’s all good. It’s all good. Even stuff that doesn’t appear to be so, it’s all good. I don’t know. Maybe the guitar is over.”

Perhaps it is down to the next generation to deliver that punch but I feel guitar music today, whilst offering some incredible artists, is struggling to…

IN THIS PHOTO: Eric Clapton/PHOTO CREDIT: ©WARREN TODA/EPA-EFE/REX/Shutterstock

DELIVER any real meaning and inspiration.

FEATURE: The Independent Radio Scene in London

FEATURE:

PHOTO CREDIT: Andy Parsons 

The Independent Radio Scene in London

________

MOST of us…

IN THIS PHOTO: Ashley James of Soho Radio

will, if we think of radio and the best stations; our minds will often go to the big broadcasters and those ‘mainstream’ options. I listen to BBC Radio 6 Music and have a lot of time for other stations. The reason I listen to '6 Music is because of the variety of music and the quality of the presenters. They are passionate knowledgeable; each of them has a different personality but all are bonded by the ethos to uncover the best new music and ensure quality is at the top of their considerations. If I am not listening to '6 Music then I am tuned into BBC Radio 2. I like the vibe of the station and the fact it caters for a slightly ‘older’ audience. It is a fantastic station and there is a reason it the most-popular option in the U.K. I switch between the two but, apart from that, my tastes are a little limited. I will, in this piece, bring in an article from Time Out – they have been investigating the best stations in the capital and how the London radio scene has come to rule and define. I will mention two big stations that, I think, show two different sides to London life: Soho Radio and Hoxton Radio. The former, as I will show, was voted the world’s best station at the end of last year. The latter is a based in an ultra-hip part of the capital and projects a youthful and cool vibe.

IN THIS PHOTO: Lucid Stannard at Balamii/PHOTO CREDIT: Andy Parsons

Depending on where you are in the capital; you will find a station to suit your mood and situation. The same way one passes through London and notices the cultural and geographical shifts: local radio mirrors that diversity and ever-changing landscape. Rinse FM is a fantastic and ‘young’ station that boasts a superb roster of eclectic and knowledgeable D.J.s. Horse Meat Disco is, perhaps, the most-loved and best introduction to the station. On a Sunday, as you might today, Josey Rebelle gives way to Luke Howard and James Hillard (of Horse Meat Disco). It is a Vauxhall club-night and was named the best radio show by DJ Mag last year. Rebelle’s show ensures there is a terrific one-two on Sundays.

She has been hosting for six years and kicks things off from 10 A.M. She spins everything from two-step Soul and Funk through to current jams and consciousness-skewing experimentations. Her pleasant and upbeat demeanour makes it is a show one can wake up to – if you are lazy enough to still be in bed then! – and the sheer range and variation of music make it a must-listen for anyone serious about stepping aside from the mainstream. Consider NTS - which has a studio in Los Angeles – it is another young and hip station. That is what one notices with the best radio stations in London: they are aimed at younger audiences and helmed by young D.J.s although the likes of Rinse FM cater to all ages: one suspects their demographic falls within the 18-35-year-old bandwidth.

IN THIS PHOTO: Moxie of NTS

NTS has Moxie at their turntables: his two-hour show discovers the best Dance music in London and (she) is one of the most authoritative and her sheer drive captivates listeners – few have the same zeal and desire to bring music to the listeners. Worldwide FM has a base in London but broadcasts right around the world. Colleen ‘Cosmo’ Murphy hosts the Classic Album Sundays show and co-hosts with Gilles Peterson. Catch her on the Stoke Newington show as she spins vinyl and her own choice of records. One can experience anything from Jazz, Disco and Funk through to Rock – one never knows what is coming next. Have a listen to The Full English Breakfast Show on Balamii It is based out of Peckham and Aisha Zoe’s 9 A.M. show is chat-lite but, as one would hope, puts emphasis on quality tunes. They, luckily, come and spades: a wonderful and wired way to jump-start any lazy day. That is a look at some of the station ensuring London’s radio scene is among the finest in the entire world. I’ll come to look at the two stations, I feel define the diversity and quality in London.

IN THIS PHOTO: Narx at NTS/PHOTO CREDIT: Andy Parsons

I want to quote from an article - written a couple of weeks back. Time Out, like myself, have been exploring the London radio circuit and how it has fought its way to the top of the pile:

“Clandestine stations have clogged London’s airwaves since the 1960s. Stations like Kiss, Rinse and Kool FM were amplifiers for British underground culture in the ’80s and ’90s – playing genres like jungle, garage and grime that were ignored by commercial stations. The reaction was huge. DJs often needed two phones because the lines for shows would get so full, and if a station threw a party, thousands of people would show up. ‘We developed this culture out of nothing,’ says Rinse FM founder Geeneus, ‘and kept on pushing until the mainstream embraced it. Pirate radio was one of the biggest influences in our country and it has never been given the recognition it deserves.’

Just a few years ago, the future of creative radio in London looked bleak. While Rinse started broadcasting online and gained a community licence in 2010, Geeneus says there was a sense that pirate radio had run its course. Stations were disappearing, not just because Ofcom was shutting them down, but because they lost their relevance once the internet meant you didn’t need an FM frequency to share music. ‘There was a stage when there was no one else to relate to,’ says Geeneus. ‘We could see the pirates dropping off and there seemed to be nothing coming after us.’

 Just like the pirates that came before them, many of the new stations are formed from a desire to share music you won’t hear elsewhere. Over 70 percent of the music played by NTS isn’t available on Spotify or Apple Music. Instead, people with excellent taste, like Debonair, share the music that they discover with the world. It’s reflected in the nerdy way many stations are curated. All NTS shows are archived according to genre – from yacht rock to free jazz to leftfield techno. At Balamii they provide track IDs so every song can be looked up online.‘We cater to a subculture of music fans who want to hear something different to the mainstream. That’s who we care about, and who we’re committed to,’ an NTS spokesperson says. (They prefer to identify as a collective to reflect the fact they’re speaking for the NTS community)”.

The article explores stations I have already mentioned but all boils down to one thing: they play music no other station will. One of the main reasons I want to work for a station like BBC Radio 6 Music is to impart my own spin and dynamic. I feel a reason why there are few working-class people employed by broadsheet papers is the fact there is a set way and established order. The working-class, God forbid, might talk about real and gritty issues that could scare off the precious and protected readers – they do not want to hear about the issues in music or sexism whilst they are chomping down their cereal.

IN THIS PHOTO: DJ Goldierocks of Soho Radio/PHOTO CREDIT: Andy Parsons

I guess, in a way, the working-class D.J.s have been forced underground. The big stations do have people publically educated but, to get to those big stations, one has to work their way through the ranks – a certain level of education and experience is needed. We are not in the days of Radio Caroline – when a floating station illicitly broadcast the finest tunes; away from the jurisdiction and clammy hands of the law – and thrilled music-lovers. In a way; there appears to be an exciting movement in the underground that has fewer restraints and boundaries than the mainstream stations – they have edicts and defined playlists; catering to a defined demographic and ensuring the ratings are pushed ever-upwards. That need to compete and fit into particular slots is what sucks a lot of imagination and possibility out of radio. I can write a separate piece on the gender and racial breakdown of stations; why some are compelled to play chart music – others prefer to broadcast a wide range of sounds. As much as I love BBC Radio 6 Music; I know there is a gap in their otherwise glistening torso. There is, to the best of my knowledge, no show that focuses on the unsigned and great unwashed. Yeah, there are shows that scoop and shine the finest new nuggets from music – they tend to be bigger artists and those one can find on Spotify.

I am talking about the artists I interview and feature: the smaller acts who, despite a comparative lack of social media oomph, thoroughly warrant attention. That is where the best small stations in London come in. They are not mandated to play the latest chart hits: their scope is free from constraints and, as such, are the go-to stations to discover what is really happening in music. London is a buzzing city with so much life and musical personality: one feels this is not being honestly documented at our most-popular stations. Because of the passion and variation one hears on the best underground stations; listeners are not only loyal and stick with them but are happy, in some cases, to pay subscription fees – a lot of your biggest stations have to deal with capricious listeners who hop to other options and crunch numbers on a quarterly basis. The new and smaller stations worry not about the spreadsheets and pleasing the top-bods. Before I wrap up with a look at Soho Radio and Hoxton Radio – a summing up from that Time Out piece:

“Our homegrown radio scene is the envy of the world and it’s rapidly becoming the dominant cultural force in the capital. It’s proof there’s still an audience for lovingly curated music out there, even if it’s easier to book a tubby bloke to play Top 40 hits. But that’s not all. This radio revival demonstrates that communities can beat big businesses, and – just like in the days of pirate radio – it’s helping build a global audience for our city’s underground artists and DJs, like Ghose. ‘London’s music scene is healthy at the moment,’ concludes (Balamii founder James) Browning. ‘Very, very healthy’”.

IN THIS PHOTO: Balamii radio studio

Soho Radio, deemed as such, was voted the world’s best radio station last year. I am quoting from an article that explains why:

“Give yourself a pat on the back London, because we're the proud broadcasters of the best radio station in the world. Independent station Soho Radio was awarded the accolade at this year’s Online Radio Awards by Mixcloud.

The station has only been on air for two years and was set up by three mates – Finlay Morton, Adrian Meehan and Dan Gray – who felt the airwaves were lacking in an uncensored station where the DJs hand-picked the songs and weren't dictated by playlists. Or as DJ and musician Finlay put it: 'We wanted a station where a presenter could hear a song and say "That’s great" and just play it.'

The trio thought up the station down the pub and it's now broadcast 24/7 from Great Windmill Street. They beat stations from the Middle East, Africa and America to scoop the prize. So next time you have a crazy idea with your mates over a few pints, think of these guys – it might just be a winner”.

Whilst Hoxton Radio, which I shall end on, has a mainly young line-up of D.J.s – and seems to aim its satellites at the swankiest and most-fashionable destinations in London – there is something a little more grounded and established about Soho Radio. It is a station that has plenty of young D.J.s but brings in a lot of experienced and ‘lived in’ talent. One need only visit the website to see they are, in their own words, “Furiously independent”.

Soho’s online community radio station

Soho Radio is an online radio station broadcasting from the heart of London. Inspired by Soho’s vibrant and diverse culture, Soho Radio brings together musicians, artists, film makers, chefs, poets and the generally curious, from across the globe.

Street-side radio

Soho Radio is true street-side radio, broadcasting directly from our studio on Great Windmill Street. Awarded Best Online Radio Station in the Mixcloud Online Radio Awards 2016, Soho Radio broadcasts every genre, from soul to Japanese grime, rockabilly to the psychedelic, along with comedy, chat and satirical shows.

Radio you can swear by

Our eclectic roster is made up of shows from the likes of music journalist Pete Paphides, dub maestro Dennis Bovell, Hacienda legend Mike Pickering and Primal Scream bassist Simone Marie.

Soho Radio has grown organically since its humble beginnings in 2014, gathering talent, legends and support along the way. There are no playlists and no adverts, allowing the presenters complete, uninterrupted freedom to broadcast whatever they feel.

Take a look at the schedule and one sees a stunning mix of D.J.s and shows. A few of the reasons the station is so popular is listed above. They can swear and talk honestly. They do not take advantage of the fact but, because of the lack of nannying, can talk like human beings and provide a more relatable and honest show. The fact they are street-level and right in the beating heart of London means they have a perfect view of the happenings and goings-on in the capital. They broadcast from a small and colourful corner of Great Windmill Street and pack in some of the best talent in radio. Miles Copeland and Rob Da Bank run shoulders with Aaron Rush and Andy Smith. My choice shows – one should seek them all out - are:

Baby Bam

http://www.sohoradiolondon.com/presenters/baby-bams-good-vibes/

Bam is a DJ, producer and MC from hip hop pioneers Jungle Brothers. A key contributor to the golden age of hip hop as well as the Native Tongues movement; a movement that brought afro-centricity, social commentary, fun story telling with an eclectic mix of music to the art form.

Named after the founder of the Zulu Nation, Akrika Bambaataa, Bam, with Jungle Brothers, inspired conscious hip hop and hip house with the classic dance floor hit “I’ll House You”.

Currently based in London, Bam has been working on both sides of the Atlantic touring with Jungle Brothers. He’s a frequent guest MC at festivals working with The Mouse Outfit and DJ/Producer Mr. Dero. His latest project Bam & Mr.Dero “This & That” features the Jungle Brothers remake of “Because I Got It Like That” is available on Tiefparterre Records.

Clare Lynch

http://www.sohoradiolondon.com/presenters/clare-lynch/

Soho is a remarkable square mile with a remarkable history. From around the end of the seventeenth century it was already an established residential district and has housed such luminaries as Karl Marx, Casanova, Canaletto, William Blake, Isaac Newton, Dr Johnson and the great composers Haydn and Mozart.

The Soho Society was formed in 1972 “to make Soho a better place in which to live, work or visit.” Then as now the principal aims of the Soho Society are to protect the interests of residents and businesses and to enhance the environment which we all share.

Each week Clare Lynch and Leslie Hardcastle MBE, President of the Soho Society welcomes in guests connected with Soho and attempts to answer the question, ‘what is Soho to them?’

http://www.thesohosociety.org.uk/

Grace Woodward

http://www.sohoradiolondon.com/presenters/grace-woodward/

Grace Woodward is a presenter with a background in all things style related, retailer, stylist, designer from the famous to the infamous and everything in between. ‘Style Moves’ is an exploration of how music influences many aspects of our lives from the emotional to the physical and in particular the major impact it can have on what we wear and why we wear it. She loves a Siouxie make-up look the morning after

Sali Hughes & India Knight

IN THIS PHOTO: Sali Hughes

http://www.sohoradiolondon.com/presenters/sali-hughes/

Sali Hughes is a journalist, broadcaster, Guardian columnist and founder of the award-winning salihughesbeauty.com, a large online community forum for women. A former magazine editor, she has written extensively for Grazia, The Observer, Elle, Never Underdressed, Marie Claire, Cosmopolitan, Glamour, The Face, Shortlist, Stylist, Woman & Home, Look, Net-a-Porter and Mr Porter and is Contributing Editor on Red magazine. She is opinion columnist on The Pool and Beauty Editor on The Guardian, appears frequently on BBC Radio 4’s Woman Hour, You & Yours and Today programmes, 5Live, Sky News (where she is a regular newspaper reviewer) and ITV’s This Morning and Daybreak. She is a consultant to major beauty and fashion brands, and lives with her two sons in Brighton. She is the author of best seller Pretty Honest: The Straight-talking Beauty Companion (4th Estate) and is currently writing her second book, out next autumn. She tweets from @salihughes.

The Smoking Guns

http://www.sohoradiolondon.com/presenters/smoking-guns/

‘London’s most exciting DJ duo’- Flaunt Magazine

London born singer/songwriter Iraina Mancini and Canadian actress/filmmaker Samantha Michelle together are The Smoking Guns.

The ladies spin in London’s most exclusive hotspots, and internationally at top music and film festivals.

The Smoking Guns present their favourite 60s rhythm and blues, northern soul, ska, Latin boogaloo, funk and garage rock.

Tune in for a mix of rare finds and much loved classics as the girls offer a little sample of their DJ sets.

www.thesmokingguns.co.uk

Capeface

http://www.sohoradiolondon.com/presenters/capeface/

Capeface is the moniker of 22 year old Tom Smart based over in East London. He’s previously presented on Surrey’s Kane FM, Stag Radio and London based Radar Radio.Varying from Hip Hop to House, Disco to Dubstep, Garage to Grime, Capeface proves his versatility as an artist, and has featured on sites such as DJ Mag, Earmilk, Your EDM and Run The Trap. Gathering all the music that’s been personally influential to him over the course of each month, expect to see all these genres and a whole lot more featured in his shows.

It is no coincident the two stations I have chosen to single-out have gorgeous and eye-catching websites. Soho Radio has pastel colours and neon combining. It is vibrant, alive and reflects the sense of fun, diversity and rebellion of the station. Hoxton Radio has a sense of structure and class but is equally beautiful and engaging:

“Hoxton Radio sits at the top of the pyramid setting trends and influencing Londoners across habitual pop culture pursuits.

We innovate in bringing the freshest insight into fashion, style and new trends bringing fresh music to the airwaves, art to our viewers and picks in food, photography and creative networking across East London.

Our partners include Old Spitalfields Market, Tate, SOS Rehydrate, Frame, Supermalt, Eventbrite, The Hoxton Hotel, Vice, Intel, Shopcade, Tate, V&A, UAL, Foffa Bikes, The Breakfast Club, London Fields Brewery and Hackney Council.

Amongst our roster sits Ashley James, Stefanie Jones, Arielle Free, The Preshaah, Liam Young, Elspeth Pierce, Charlotte de Carle, Sabrina Carder.

Hoxton Radio works closely to support the arts and run in depth coverage for First Thursdays with previews, artist interviews, analysis and editorial coverage on air and online”.

Before I wrap things up; a trio fo Hoxton Radio D.J.s and their most-recent shows - and what they are all about:

Alternative Hour with Elspeth Pierce

http://hoxtonradio.com/alternative-hour-w-elspeth-pierce-9/

This week’s Alternative Hour was the perfect anecdote to the end of the Bank Holiday, with hot new music releases for the Autumn. She also shared her sonic discoveries from the fields of Reading Festival from The Wholls to The Shimmer Band.

Her very special guests this week featured her little rescue dog Edna, but more importantly Shoreditch Dog House, a flexible and alternative dog day centre based in the heart of Shoreditch and opening next week, September 5th.

Track of the week (second time lucky) was from Chroma, a punk indie group with female front harking from Wales. A refreshing change from the male heavy Reading lineup who played on the BBC Introducing Stage.

@shoreditch_dog

About:

http://hoxtonradio.com/presenter/elspeth-pierce/

"Elspeth Pierce hosts the Hoxton Fashion Show, Wednesdays 10am – 12pm and Elspeth Selects new music show Tuesdays 4pm – 5pm.

Style expert Elspeth has her finger firmly on the fashion pulse. She has presented all the off-court action at The Wimbledon Championships for Vogue magazine online, styled and presented live fashion events from The Clothes Show to Britain’s Next Top Model and hosted live radio shows from London Fashion Week. She is also in the thick of the action when it comes to sport having recently interviewed the New Zealand All Blacks and fronted premier league football show Betsafe Football.

As a fashion stylist and presenter, Elspeth started her career at ITV This Morning, styling models and celebs for the live shows. From there she landed a role as freelance fashion writer for Reveal Magazine and as fashion blogger to shopping centres countrywide.

Elspeth has recently joined Candid Magazine as a music writer, contributing a weekly post to Candid’s expansive digital music section and keeping readers attuned to what’s new, sonically.

With her fresh face and vivacious personality, Elspeth has also modelled for various companies, fronting commercial campaigns for companies as diverse as T-Mobile, Ted Baker, TGI Friday’s and McCains".

Ashley James x The Berlin Patient

http://hoxtonradio.com/ashley-james-x-berlin-patient/

Relationships, Dating, Doting and random donations?

Ashley James had it all plus the most banging beats for the weekend ahead

About:

http://ashleylouisejames.com/about-me/

http://hoxtonradio.com/category/ashley-louise-james/

"You can listen to me on my Hoxton Radio show every Friday from 2pm-4pm from anywhere in the world at www.hoxtonradio.com. I’ve recently been nominated and shortlisted for an IARA Award for Best FM / UK Radio DJ, which I’m so excited about. I’m crazy about rap, Hip Hop, trap, grime, and R&B. My love affair with music started when I was very young and I had my first radio show at the tender age of 7 (granted it was just on my own tape recorder taking songs from the radio and making my parents record the adverts, but it was a start). I got my first taste of real presenting at sixteen when I secured work experience at BBC Radio Cumbria, and then went onto work on URN, the University of Nottingham’s radio station, whilst studying for my BA (hons) French & English Literature degree (bonjour). I was also given a guest show on Rinse FM".

Sasha Brown – Happy Buddh Monday

http://hoxtonradio.com/sasha-brown-happy-buddha-monday/

About:

http://hoxtonradio.com/sasha-brown/

"Sasha Brown is a singer/song-writer working in electro-pop & dance/house music. Her sound has been described as Lana Del Ray meets Years and Years. She is also a DJ and has a show on Hoxton Radio Mondays 12-1.30.

Her debut track ‘Good Life’ received Radio Play on Hoxton, BCFM, UJIMA and Burst Radio. Sasha was Artist of the Week on America’s Blog Talk Radio with Cyrus Webb and she has been featured on UBTV, Coast2Coast and Virtuoso Entertainment.

She has recently worked on a deep chill/house EP with German producers Verbund West which is set for imminent release. Her track ‘Talk On’ with Nathan Barato has just been released off the renowned underground label, Hot Creations and received Radio 1 airplay with Pete Tong".

Back from Vietnam and preaching Happy Buddhas like they’re the new Chanel-yes, Sasha’s back. This week Sasha was joined by Bokan’s Head Chef, Aurelie, to discuss Bottomless Brunch and the art of cooking/eating.
http://bokanlondon.co.uk/

Sasha also brought you new music from the likes of Alex Adair, Crazy Cousinz and Softmore.
https://m.soundcloud.com/crazycousinz

Top tip: Book a ticket to this!
XOYO
An Orchestral Rendition of Dr Dre’s 2001
Wed, 20 Sep 2017, 19:00

Notorious B.I.G ‑ An Orchestral Rendition of Ready To Die
Wed, 27 Sep 2017, 19:00

http://xoyo.co.uk/gigs/reimagine-presents-notorious-b-g-orchestral-rendition/

@TheSashaBrown
Instagram: SashaJadeBrown
www.sashabrownmusicofficial.com

That is a snapshot of the station – with a trio of awesome presenters – but, to get a better impression of the station; visit their website and make sure you tune in! Hoxton Radio, alongside Soho Radio, show what an array of incredible D.J.s are in the capital – each committed to provided quality shows and presenting the best new music to the listener. I hope that has provided an insight into the London radio scene and why the capital’s underground and growing stations are the very best…

IN the world.

FEATURE: A Ruby Kick: The Continuing Influence of Kate Bush

FEATURE:

 

A Ruby Kick:

 The Continuing Influence of Kate Bush

________

THE same way I placed an embargo on the mere mention…

PHOTO CREDIT: Evening Standard/Getty Images

of Billie Marten last year – so blown-away as I was with her debut album – this will be the final inclusion of Kate Bush for 2017! Actually, this is no flimsy and crow-barred excuse to explain my endless love for Kate Bush. Next year, in February, it will be forty years since her sublime debut, The Kick Inside, was released to the world – hence, the reason for the title of this piece (ruby is the gift one gets/receives after forty years of marriage). I wanted to focus on her debut but, more than that, explain how that album started the ball rolling – one that would hit and affect so many artists along the way. It is clear and evident Kate Bush affects and resonates in the heart with so many musicians today – male artists in addition to women.

PHOTO CREDIT: Pinterest

What I wanted to do, if I have not left it too late, is compile an audio documentary that brings recorded interviews (with Bush and other musicians) and pairs that with revelations and stories from new artists. There are so many out there who have taken from Kate Bush and carry their music wherever they go. Different albums/periods of Kate Bush’s career affect different artists. To me, and the reason I wanted to write this, was set the wheels rolling for a documentary of some description. It seems foolhardy and a shame to pass such an anniversary by without something authoritative and passionate. An article might not be sufficient so I am determined to find a way of interviewing some people and splicing it with archived interviews.

PHOTO CREDIT: Pinterest

Of course, as with any self-respecting journalist, the ambition would be to interview the woman herself! I realise I do not have the cachet and celebrity to warrant such an audience. If I worked for BBC or another station – maybe I would be able to get that chance (fighting off stiff competition, I can imagine). I wonder whether, as her debut is forty next year, there will be new material. None of us likes to think 50 Words for Snow (her last studio album came out in 2011) is all we will hear from Kate Bush this decade. Of course, she has been busy and stunned fans lucky enough to catch her at Hammersmith Apollo back in 2014. That is a gig that, if I could turn back time, I would make every effort to get myself to – the other one I regret missing was Jeff Buckley when he played New York cafes in 1993 (I was ten and based in the U.K. - so I can forgive myself that). I have Before the Dawn (the name of her live show in 2014) and it is a treasured vinyl that is exceptional to hear. I know I am diverging from the tracks but I am amazed at how, forty years after her introduction to the world, she continues to amaze and…wow.

IN THIS PHOTO: Kate Bush signing copies of The Dreaming in 1982/PHOTO CREDIT: Peter Still/Redferns

Whether you see The Kick Inside as inferior to The Sensual World, The Dreaming and Hounds of Love – seen as her finest album by most – one cannot deny how important The Kick Inside is. Without that album, and the response it gained, there would not have been any more material. It began the process and lit the fire: sparked a wave of fascination that continues to this very day. Before I come to look at the artists inspired by Kate Bush; I will outline why we should celebrate forty years of The Kick Inside. One needs to be patient – 17th February is the official anniversary – but, with four months remaining; it is ample time to dive into the album and chart its heritage. You can, from there, look ahead and draw a line between the album and so many other records. I said how many are inspired by Kate Bush: one finds elements of her debut in some unexpected places! My first experience of Kate Bush can be traced to, around, 1986, I guess. I would have been three (maybe it was 1987) and a V.H.S. of her collected music videos – a sort of ‘best of’ that included songs such as Wuthering Heights.

IN THIS PHOTO: Kate Bush in 1978

I think Them Heavy People is my earliest memory of Kate Bush – that incredible and charming video makes me smile every time I see it. That charm and quirkiness is one of the reasons Kate Bush stays in the heart this far down the line. The Kick Inside does not have the same variations and enigmatic diversions as Hounds of Love but, to me, it is a more solid and impressive work. Bush was a teenager when the album was released and broke ground with the album. One can argue about the voice and how that is the most notable and long-lasting facet. To me, it is the songwriting and control. There was a record label involved – and experienced musicians like David Gilmour helping with production – but look at those songwriting credits! Few albums in the mainstream contain one writer for every song – meaning, that artist takes care of ALL the songwriting. A few names are exceptions but, look closely, and it is hard to find musicians who write their own songs. That seems quite natural and many argue it is not a big deal.

PHOTO CREDIT: REX

A lot of people can’t write music so you can forgive them for bringing people in to help with that side of things. To me, the most worrying thing about modern music is the fact so many popular artists bring too many people in to assist their process. Kate Bush, as early as 1975 (when the recording began), she was putting out her own music and exploring her unique perspective. I have heard documentaries and interviews where she explained her childhood situation: writing songs and performing them to her family; some were so long, members would walk out half the way through! Her dad was especially supportive and would hear his daughter premiere her latest work. It is understandable why Bush would want to make a debut with no other songwriters – that does not make the achievement any less impressive. I shall not go into the song-by-song rundown of The Kick Inside – I have covered that a lot before – but wanted to celebrate an incredible record that helped inspire generations of songwriters.

IN THIS PHOTO: Kate Bush, 1978

I do not know whether Kate Bush realises how many musicians count her as an idol but she has an inkling, one suspects. To me, it is a familiarity and comfort that follows me wherever I go. From the whale song at the start of the album: Moving is a sensual and physical dance that kick-starts a fantastic L.P. I love all the machinations and interpretations of love: from someone who was a teenager at the time of the album’s conception (some songs written when she was thirteen), it is beguiling hearing so much confidence and maturity. We know there are teenage artists today who display a mature attitude and produce stunning music: there is nobody like Kate Bush; nobody who has those same talents and abilities. Stunning to hear someone fully-formed and striking from her first album. That talent and ability grew but, up until 1985’s Hounds of Love, there was some critical disappointment and personal doubts.

IN THIS PHOTO: A shot from the Lionheart photoshoot

Lionheart, her second album, was quickly released (to capitalise on The Kick Inside’s success) and contains fewer pearls – the fact it was released nine months after her debut meant there was a lot of pressure. Producing another record in such a short space would be like conceiving a child the day you give birth – it works in my mind but is going to cause issues, one way or another! With those words in mind (the final four); The Kick Inside’s success was all the more remarkable considering another legendary album released in 1978: Blondie’s Parallel Lines. If Kate Bush would not regain a true potential and spark (after The Kick Inside) by the time of 1982’s The Dreaming – Blondie were challenging her right at the start of her career. Bush won a chart battle with Blondie when Wuthering Heights reigned victorious. Wuthering Heights was released later to avoid clashing with (being beaten by) Wings’ Mull of Kintyre. The fact it was held back put it in the firing line up Blondie’s Denis – Debbie Harry aiming to score her first British number-one.

IN THIS PHOTO: Debbie Harry (1978)/PHOTO CREDIT: Mick Rock

Kate Bush, as we know, became the first British female songwriter to score a self-penned number-one. That is extraordinary in this day and age. When Dua Lipa recently hit the number-one spot for her song, New Rules – she became the first female since Adele (and Hello) to scoop that honour. That speaks more about chart issues and sexism but back in 1978, nobody expected an artist like Kate Bush to arrive. The Kick Inside is as much about its records and story as it is the sound and comparative quality. It is a record that changed so much and, with it, propelled a quixotic, alluring and endlessly brilliant artist into everyone’s lives. It is my favourite album of all time and that is why, by February, I hope to have something worthy of The Kick Inside’s brilliance...

IN THIS PHOTO: Kate Bush in 1979/PHOTO CREDIT: Pinterest:

It is inexplicable why The Kick Inside strikes me so hard because there are, actually, so many different layers and reasons why it remains so dear. I know that assertion is shared with many other musicians and writers. One need only look at the archives to Desert Island Discs and realise why Kate Bush is one of the most-selectable artists in its history. People feel a bond with her: even though they have not met and experience her personality in a second-hand fashion. If one were to compile a Kate Bush greatest-hits album; surely at least three or four of the songs from The Kick Inside should be in that assortment – the official release, I think, overlook the debut too much. I look around modern music and, when interviewing various artists, ask the same question: “Who are the artists you grew up listening?”. The fact Kate Bush comes up so often does not surprise me – it gives me cheer and cements my assertion she is among the greatest artists the world has produced.

IN THIS PHOTO: Kate Bush during a photoshoot for Hounds of Love (1985)

Most people who name-check her are women but there are plenty of men who take from her music and can relate. There is something gender-neutral and double-blind about Bush’s music. Call it an androgynous form of sexuality or an exceptional artist who can reach every human who hears her music – forty years from her first recording and it seems more people are inspired by her than at any other time. Does that mean musicians are uninspired by new music and finding more truth in older records?! Perhaps so but I think there are special musicians who transcend time and situation and have that perennial appeal. I cannot name all the artists who I have seen source Bush as an inspiration – you can look back at my blog if you wish – but there is no danger of a drought. One of the most interesting reasons albums like The Kick Inside are so important is the huge artists that have been touched by it.

One can hear shades of Kate Bush in Tori Amos. The American musician recently released her album, Native Invader, but if one looks back at her debut, Little Earthquakes; there is so much to compare with Bush. The cover-art shows Amos crouching in something that looks like a concrete picture frame. I cannot help think of Kate Bush and his mannerisms when looking at that photo. The same way Kate Bush carved a template for female songwriters in the late-1970s and 1980s: Amos wrote the book for female songwriters in the 1990s. Little Earthquakes arrived with seismic potency in 1992. It is a less flighty and quirky work than The Kick Inside but its softer and more emotive moments – of which there are many – can be traced to Kate Bush. One hears a lot of The Kick Inside in Little Earthquakes; the raw emotion and revelations of The Sensual World; the maturity and explorations of Hounds of Love. Under the Pink, released in 1994, changed dynamic and sound and, with it, put me in mind of The Kick Inside.

IN THIS PHOTO: Tori Amos/PHOTO CREDIT: Loren Haynes

I cannot listen to songs like Cornflake Girl and not be reminded of Oh to Be in Love or Them Heavy People. Kate Bush’s influence is clear throughout – whether Amos listened to The Kick Inside (or a later) album beforehand I am not sure. I will mention London Grammar and Björk a little later – but there are so many different acts that trace their roots to Bush. Lady Gaga’s comingling of art and Pop stems from Bush – not to mention her bold and confident persona – as does the songwriting brilliance and allure of PJ Harvey. Kate Nash (is another Kate) that takes inspiration from the divine Ms. Bush – one can add Joanna Newsome and Bat for Lashes to that list. Many easily jump to Kate Bush when they hear an artist who is different and a little eccentric. Those who do not fit into the mainstream and do not follow the pack are tied to Bush.

I am not sure whether this is lazy labelling but it is humbling to hear wonderful artists take Kate Bush’s example and continue her legacy into the modern-day. Other modern artists like St. Vincent were drawn to Bush’s theatre, narratives and oddities – St. Vincent has an attachment to Wuthering Heights. Bright Light Bright Light, Wild Beasts and Placebo are among the male artists who count Kate Bush’s work among their favourites – Bright Light Bright Light hails The Sensual World as his joint-favourite record. Goldfrapp is another act that springs to mind when looking at Kate Bush’s musical progeny. They have a connection to nature and the world – elements and facets evident right from The Kick Inside onwards. A 201-piece, written around the time of Bush’s performances in Hammersmith, spoke with a collection of artists who are inspired by her.

One reads the piece and is amazed by those artists one did not expect to count themselves as fans:

Catherine Pierce (The Pierces)

The first time I heard Kate Bush’s Running Up That Hill I was moved to tears. I don’t remember a song ever striking such a chord with me. I was going through a difficult time and it was as though she was reading my heart. Still, every time I listen to it, it invokes a feeling that makes me instantly go inward. It’s one of those songs that I wish I had written and would love to cover, but wouldn’t dare because I don’t think there could be a more perfect version.

Rumer

Having six older siblings, I got to listen to artists like Kate Bush from an early age. When rifling though my older sisters’ bedroom one day, I found Hounds of Love. I loved the album so much it barely left the tape recorder, although I always had to run across the room to fast-forward Waking the Witch because it was too scary! That was my first introduction to her wild and rugged musical landscape, and that unique inner world. She is such a rare artist of our time, uncompromising yet always feminine, with no walls to her expression.

IN THIS PHOTO: Catherine Pierce/PHOTO CREDIT: Ken McKay/ITV/REX

Sharon den Adel (Within Temptation)

We covered Running Up That Hill in 2003. I grew up with Kate Bush because my dad really liked her music. She was always in the background. When our band started there were some parallels with the way I was singing, the falsetto voice. People were always comparing us. It wasn’t a sound that you hear a lot, especially in rock like I do. With some of her songs, when you take them apart, they don’t seem possible. If you look at the rules for how you write songs, they shouldn’t work, but they do. She’s one of a kind. She’s the icon for a lot of female vocalists. She inspired so many of us.

Emily Kokal (Warpaint)

I was late to the Kate Bush fan club. A few years ago a friend of mine spent an evening showing me videos and songs and telling me Kate’s story, and I was so excited to have this woman’s work to dive into and to discover what a pioneer she was, and how influential she was on artists I have loved. Her melodies are unreal. Singing along with Kate is like vocal Olympic training. I floated down the Nile for a week and she was my constant companion. Cloudbusting — ahhh. She’s like Glinda the Good Witch’s punk sister. She’s a champion and an innovator and I’m so happy she exists and expresses her beauty for us all to enjoy.

IN THIS PHOTO: Imogen Heap at 2010's Grammys

The piece brought in Boy George and Donny Osmond into the feature – showing it is not only female artists that are compelled by Bush’s rare majesty. Benjamin Clementine is in there – someone who is about to release a new album – and, before moving in, two more examples the article sources:

Imogen Heap

When I was 17 and getting my first record deal, it was the likes of Kate Bush who had contributed to labels taking me seriously as a girl who knew what she was doing and wanted. I was able to experiment and left to my own devices in the studio. Kate produced some truly outstanding music in an era dominated by men and gave us gals a licence to not just be “a bird who could sing and write a bit”, which was the attitude of most execs!

Tom Fleming (Wild Beasts)

Like most people I started with Hounds of Love and went outwards from there. Now The Sensual World is my absolute favourite. There’s a song on there called The Fog, which I think was the most captivating four minutes I’d ever heard at the time. It’s remarkable. She was instrumental in moving our band down certain routes — her and Antony Hegarty, Michael Gira of Swans — these writers who are playing with sexuality and delicacy versus strength. It’s all really interesting and not macho, which is really important to us. Also, she’s seen as this pop star and doesn’t really get the credit she deserves as a producer. She was really ahead of the game. I haven’t met her but I expect she’d be quite sane and normal, which the best people usually are.

IN THIS PHOTO: Wild Beasts' Tom Fleming (2014)/PHOTO CREDIT: David Daub

That is an incredible and broad list of names. It covers the mainstream: look at the new artists coming through and you’ll find acts from five/six continents, playing all genres, who have been inspired by Kate Bush. Literally, I know an Israeli Future-Beats artist and Brighton Folk singer who counts Bush as an influence. I said I would mention London Grammar (but didn’t) but cannot talk about Kate Bush and not mention Hannah Reid. The trio’s vocalist has the same drama, beauty and range as Bush. I can hear elements of Kate Bush’s modern albums in Hannah Reid’s voice. Although Reid has a deeper voice than Bush: there are some definite comparison and that common (immense) beauty that both possess. Florence Welch’s Florence and the Machine, I understand, are gearing up new material. How Big, How Blue, How Beautiful was released in 2015 - and gained huge and passionate critical acclaim.

IN THIS PHOTO: Florence Welch/PHOTO CREDIT: Laura Coulson

Ever since the debut, Lungs; one can hear Kate Bush in the music. Pounding, bellicose decelerations such as Drumming Song and Rabbit Heart (Raise It Up) have the same percussive and vocal triumphant as Running Up That Hill (A Deal with God) and Babooshka. Welch’s tender songs find roots in albums like The Kick Inside and Lionheart. Unlike a lot of the artists I have mentioned – who, I feel, can be traced back as far as The Kick Inside – Welch’s Bush influence, to me, begins around 1985 – when Hounds of Love was unveiled. One can hear the same drama and compositional ambition/excitement in the early Florence and the Machine material. Although Welch wrote songs with Isabella Summers and Paul Epworth (and a few others) on Lungs does not detract from her songwriting ability and talents. There is a lot of the compelling and fascinating woman in that album. Welch has developed and changed her sound: growing more confident and singling herself as one of the finest singer-songwriters in the world. I am not sure what form a new Florence and the Machine album will take but there are rumours the heroine is laying down sounds – maybe we will get an album by the end of the year?!

PHOTO CREDIT: Daniel Jackson/Trunk Archive

I wanted to conclude this section by looking at two artists that have helped continue Bush’s work and bring it into the modern age. The first, actually, is someone who picked up the mantle in the early-1980s and was one of the first popular artists inspired by Kate Bush: that would be Madonna. Everyone can see comparisons between Kate Bush and Madonna. The same sense of show and self-empowerment; the incredible songwriting and sonic/thematic shifts between albums – the ability to stand out as an icon and inspire legions of fans. Madonna projected a more provocative and sexual version of Kate Bush but many critics and commentators noted how Madonna saw how Kate Bush blossomed and progressed in her early career and ran with that, to an extent. Madonna, as her career developed, went in different directions but her image, confidence and artistry can be compared with Kate Bush. I feel Björk is one of those artists who is seen as unique – she inspires so many others and is one of the most groundbreaking and extraordinary artists since the 1990s. Her debut album arrived the same year as Kate Bush’s The Red Shoes.

IN THIS PHOTO: Madonna

Not that the Icelandic pioneer would have had intel about the recording and taken from that – it is interesting and one can definitely hear some comparisons between the works. The Red Shoes arrived after Björk’s debut but The Dreaming (1989) arrived at a perfect time to inspire a hungry and original artist. From her earliest days; I could tell there was a bit of Kate Bush in Björk. The way Björk experiments and pushes the boundaries of music; the way each album has a different skin and brings in new elements, Björk does not repeat herself and ensures every record progresses from the last.

IN THIS PHOTO: Björk

Her forthcoming record will be prefaced by The Gate – her single is out later next week and gives an indication into an album she says explores the purity and luminous nature of love. It is her ‘Tinder album’, as she says, and represents transitioning from break-up to rekindling a desire to be in a relationship. The way Kate Bush put art and depth into music: Björk continues that and is the most notable and strong successor to Bush. I speak like Kate Bush has died but I mean – the artists mentioned – they are picking up the baton and keep the flame burning bright. I hope Kate Bush does release more material but, even if she does not, her music lives on through some of the best artists of our day. Björk is a perfect example of how Kate Bush’s incredible talent and music has inspired the new generations.

I am excited by the approaching fortieth anniversary of Kate Bush’s debut album, The Kick Inside. It is an album that means more to me now than it did when I was a child. I cannot believe how fresh and inspiring it is all these years down the line – yet, it sounds like nothing else and stands on its own. The fact few other Kate Bush fans do not rank her debut as the best does not dent my enthusiasm: I feel like it is my little secret and I have to explain why it is so good. Nobody can deny how important it is and how many artists, consciously or not, have been moved and affected by the record. It does not seem aged or outdated at all. The Kick Inside is a fantastic work that began a glistening and exciting career.

IN THIS PHOTO: Kate Bush in 1979

Later work would cement and elevate Bush’s name and brilliance to new heights and audiences. She is a talent that continues to inspire new artists to come into music and explore themselves with freedom, brash expression and boldness – unconcerned with the mainstream and fitting into holes. That might be the greatest thing Kate Bush has given us: an unorthodox and entrancing spirit who, back in 1978, could not be compared with anyone – she remains distinct and unique to this day. I am touched so many people have taken so much wisdom and beauty from Kate Bush’s work. People will be talking about her work forty years from now: it is timeless and, as such, when The Kick Inside’s anniversary arrives; we should not only celebrate a remarkable debut album but…

A truly brilliant artist.

FEATURE: The Gig Experience: Are We Losing the Ability to Connect?

FEATURE:

 

The Gig Experience:

  Are We Losing the Ability to Connect?

________

FUTURE pieces of the day will contain a lot more…

sugar than spice. In fact; this is not meant to decry gig-goers and question impunity. What I wanted to address – whilst not a new subject – is the way we are approaching the live experience: how many of our best venues are facing closure and extinction. I wanted to split the piece into two halves – without rambling on – and ask why we feel so inclined to buy tickets to see an artist – only to disconnect ourselves from the performance when we get there. This is not the case with everyone: there are many who take a more traditional and proper approach to music. I do not own a Smartphone and one of the reasons for this is I do not want to be endlessly distracted and obsessed by machinery and technology.

It not an original observation when I say so many people are hooked on their phone – to the point when one will walk the street to be met with an approaching horde of phone-staring zombies unaware of the logistics of walking. They careen towards you and, even if they look up, often go straight through you. It is a worrying sign we have to document our every movement – some of these emanating below the waist – and keep everyone updated with every pointless thought and irrelevant status update. I am guilty of indulging the anonymity and security of social media. We do not have to embrace and properly connect with a human on social media: one can say what they want and message someone without becoming involved with them or meeting them at any point. It gives us a rather strange group of ‘friends’ where can surrender sociability and dispose of the human touch. I worry we are more absorbed and fascinated by screens and technology – few are worried they are slipping away from humanity and spending their free time hooked to laptops and Smartphones.

PHOTO CREDIT: Getty

One should, when affording themselves the chance to get out into the world, should not carry their phones like a weapon – a warrior going into battle that needs to wield it at the mere whiff of approach enemies. I cannot judge people too much because I spend most of my free-time on the laptop. I have no choice when it comes to what I do. I never go to a gig and spend my time there taking videos. I understand someone might want to take a picture of the venue they are attending. It documents you were there and is good for prosperity. Why do people feel the need to catalogue the entire duration and development of their gig-going experience?!

IN THIS PHOTO: Prince; who wanted the audience to dispense with phones at his final gig

From the time they are on the train (or in the car); one is presented with an array of photos and videos – right until they get out the venue and are on their way back home. It is like, when seeing people hold phones aloft, there is an approaching alien craft from above. People put their phones up and seem to form some messianic circle. Smartphones have their uses (it passes me by but I am sure there are some) but photography is the main one. It is easier snapping something and is one of the biggest breakthroughs we have had – one does not need to wait days for films to be developed and processed before they can see their images. I am glad we have moved on in that sense: the fact we have gone to such extremes means we forsake eye contact and interaction altogether. One cannot go to gigs without people taking pictures of the artist. I have seen videos of people watching a gig and it made me think: they have not seen a second of the performance with their own eyes!

IN THIS PHOTO: Beyoncé; who is one of few big artist to ban professional photography at her gigs

One of the reasons I do not go to gigs a lot is because I feel alienated and distinct – like I am watching the performance on my own. So many people feel they need to prove they have been to a gig. We cannot, in this day, say we have experienced something without photographing it. We feel this need to visualise every movement and interaction we have – music should be immune from this. Music photographers are different. Their job is to take the best shots from the field; capturing artists at their purest and least self-aware. Live performances are the antithesis of the social media/streaming culture we are growing up in. It is the chance to see the artist in the flesh and connect with them on a human level. Why would one go to a prestigious and expensive gig only to record everything without seeing a moment through their eyes?! I know artists have tried to tackle this recently. Prince’s last gig was supposed to be a mobile-free territory but I know some did slip through the net. Kate Bush, when she performed a set of shows in London a few years back, insisted the audience stay away from their phones and watch her perform without them.

Largely, people abided and accepted this request – a sense of respect and obedience that is rare to find. One knows there would have been a few people that ignored the plea and filmed everything on their phone. Technology companies have released phones that can sense when someone is at a gig. Apple trialled this last year and, the way it works, was a radar/sensor can detect the environment and prohibit one from videoing and photographic at a venue. That is a positive thing every company should roll out. One imagines there would be an outcry but we are not stopping people from taking photos away from music. I find it pointless going to a live performance and doing anything but watch what you have paid to see. Live music is one of the most exciting and immersive experiences one could witness. We have become so entangled in the Internet we have forgotten how to be a human being and remove ourselves from the machine. This ignorance and self-obsession extend to dates, holidays and everything around us. I rarely take photos and, when I do, it is to document something I struggle to describe with words – a tourist site or rare event. I would never take a camera to a gig and have no interest boasting about the experience on social media. The fact I was there and know a gig happened is proof enough – I do not care what people think and whether they need evidence.

The Good Ship in Kilburn is one of the latest venues to face closure. The London venue’s doors will shut next month because of the curbs on late-night revelry. The Evening Standard reported on the closure:

“Last year, police and Brent council reviewed the pub’s late-night licence after concerns about events finishing at 3am and security arrangements. Mr McCooke was able to keep his licence with an earlier finishing time of 2am but it affected trade on Friday and Saturday nights.

It will be the third music venue to close in Kilburn since 2011, following the loss of The Luminaire and then Power’s Bar.

Mr McCooke said: “We are the only late-night music venue in Brent. When the council looked at our licence I thought this will kill the business.

“But the measures they put in place with the early closures meant it was a slow death.”

Mr McCooke said he now wanted The Good Ship to “go out with a huge bang”.

He added: “Kilburn has an amazing history, with The Beatles, The Smiths, Rolling Stones and The Who playing here. Kilburn has always punched above its weight but in less than six years three venues have been closed, which is shocking”.

One can, legitimately, draw a line between the closures and the way we choose to interact with other people. You can argue people have less disposable income to spend on live music these days. I do not think we have become poorer in that sense. I feel we prefer to stay in because technology allows us to watch whatever shows we want and opens a whole world of entertainment. There are plenty of great artists out there so one cannot say the lack of quality is driving people away. So many of us are absorbed in technology to the extent we forget how to interact and socialise. We are going to extremes. People are either not going out at all or they are going out and drinking to excess. There is no middle-ground that allows people to go to gigs and act cordially. The trouble and controversy that surrounded Fabric’s closure – and subsequent rebirth – was to do with drugs and trouble at the venue.

IN THIS PHOTO: Fabric nightclub, London

The Council and Government have tightened up security and regulations to ensure that pattern of events do not repeat themselves. A few bad apples do not represent the entire music-going public but it is troubling so much trouble and controversy leads to venues shutting their doors. Now people are filming gigs it means many are able to sit at their laptops and watch a concert. The issue is more complex and there are other reasons why so many venues are closing - there are so many venues it is impossible to keep all afloat; people are bonding more with streamed music – but I worry we are abandoning live music and not treating it with due respect. New artists need people to come see them and help them thrive: if we are glued to phones and prefer to spend our time online – how viable and prosperous is the future of music?

PHOTO CREDIT: Getty

I am pleased people are not sitting back and letting venues close without a fight. The fact so many big artists are banning people from videoing their gigs is a sign they want people involved and not streaming their performance to the masses. Eminem, when he played Reading and Leeds last month, banned the BBC from streaming his performance. He wanted paying punters to get exclusive access to his intense and near-career-best show. That is fair enough and I think he would have been aware people at that festival were videoing it themselves. I guess he cannot stop that but so many artists want fans to connect and watch what they are doing. If we get too reliant on technology and feel a desperate need to photo every stage of a gig – how does that impact on our enjoyment and the purpose of seeing an artist?!

PHOTO CREDIT: Holler London

One might as well sit at home and listen to the artist on YouTube if that is the level of involvement they want. I worry we are going further and further down a hole we will be unable to climb out of. The more prevalent technology becomes; the more we rely on it and replace human connection. I know many people are exempt from my point and many people use cameras/phones sparingly to capture important musical moments. One can understand if they want to take the odd shot of a band when they are in mid-flight. It is okay to video arriving at a festival but many people are taking things to an extreme. With so many venues closing its doors, it is imperative, more than ever, people fight for live music; put the Smartphones away and…

GET involved.

FEATURE: Living the Dream: An Initiative for All

FEATURE:

 

Living the Dream: 

 An Initiative for All

________

I am not sure whether the image above…

IN THIS PHOTO: The Manchester Arena

has any relevance to what I am saying – I like how striking it is but, in a way, it does link into what I am thinking. Right now, Manchester Arena is reopening after the horrific attack earlier in the year. Noel Gallagher is headlining and it will be an emotional concert. There will be nerves and doubts – security tightened to make it impossible another terrorist attack will happen – but there will be a lot of love, togetherness and uplift in the performances. One can only imagine the kind of electricity and physicality in the arena tonight. It will be talked about for years and a perfect reopening for a wonderful venue – one that was rocked and disturbed by one man’s callous and evil attempt to unsettle and shake our country. It did not work but, rather awfully, we have faced other terrorist attacks since then. It is becoming more frightening becoming a human being.

IN THIS PHOTO: The worker bee became a symbol for Manchester after the attack

One of my long-standing dreams has been to set up a charity movement, The Single Voice, that acts as a one-stop-portal that raises awareness, funds and support – based on a musical ethos and foundation. A lot has happened over the last few months that has made me more determined to get something together and rolling. Right now, islands have flattered and rendered uninhabitable by the fearsome and indiscriminate Hurricane Irma. It is bearing down on Florida and, let’s hope, it does not claim too many lives – the devastation it will wreak will be hard to recover from. Cuba has been hit and, even if it does go on its way in days to come, many will take years to come back and rebuild their lives. Dozens have perished in one of Mexico’s most-powerful earthquakes in the past day – it was also hit by the hurricane and has had to bear so much. We saw the awful right-wing atrocities in Charlottesville a while back and the calamity coming out of Virginia.

IN THIS PHOTO: Hurricane Irma

I have no solid business plan and forecast sheets right now: the sheer desire and impetus to unite all of music into a community with a common ideal. Social media is a tool that, when used effectively, can be incredibly powerful and influential. Too many of us use it for egotistical and shallow reasons. I, myself, am a little fixated with people-watching and idly spending time waiting for something to happen. The Single Voice would, essentially, be a commune of musicians and musical personnel – producers, D.J.s and creatives – that would help raise funds and awareness for those affected in society. I can throw superlatives to all the major events that have happened this year. All of them have left their mark and could be perceived to be the worst incidents we have seen.

IN THIS PHOTO: A potential Ambassador for The Single Voice, Björk

It is hard distinguishing between the terrorist attacks and natural disasters: whether political and social divisions are more scarring than physical devastation. What we do know is there is a hell of a lot of bad happening that is hard to contain. A charity/movement would not cure or eradicate any issues – instead, it would help profile and challenge issues that need addressing; use the power of music to fight against problems and evils in society. There is sexism and racism in the music industry that is not going anywhere right now. I am concerned these problems are not being addressed by people high up. I guess, in a way, The Single Voice is a dream or political movement. It is a way of creating a left-wing/left-of-centre force that has the same ideals as Labour but does not have to campaign and electioneer. I am concerned about the environment and the way peoples are being ravaged by global warming. I hate the right-wing movements and racism in wider society. Many, myself included, cannot stand the regime of Donald Trump and the way he is ruling America. Here, we have the threat of terrorism but there are so many splits and cracks in our fabric. The NHS is in peril and desperately requires finance and government support.

IN THIS PHOTO: The devastation caused by Hurricane Irma in Florida

Millions in the nation suffer depression and anxiety – many have to wait days/months to see a doctor and get adequate support. The human cost of lacking resources is seeing people take their own lives. There is gender inequality and sexism that sees women overlooked for managerial positions and denied the same opportunities as men – that is especially true in music, where there are far fewer women in top positions. What I propose would be creating two bases for The Single Voice. One would be based in London: the other over in New York. It means the two biggest music nations of Earth have an office in their territory. I want various ambassadors to represent The Single Voice and take its messages wherever they go. I would set up a website that acts like social media. One would register and sign in and be able to take part. Before I come to new developments; I will quote from an article I wrote a couple of years back:

How it Raises Money

The campaign is designed to bring together YouTube, Google, Apple and Microsoft: some of the most influential and important companies on the planet. I will go into more depth below but the way the user raises funds is through YouTube ‘views’: every time someone views a video you have uploaded; 10p is donated to your chosen charity.  YouTube is the ‘hosting site’: it is their website that is the basis of the campaign. Google will be the ones who are donating the money. Each user/member -who chooses to take part - will register on the main site (see below) and through advertising and increased search results, Google will gain revenue- which in turn will be donated into The Single Voice. Companies like Google and Apple generate enormous profits each year; they do great work but have a lot of profit coming in. Finding a legal and non-invasive way for them to generate more funds- by advertising and getting more ‘business’- would allow them to channel this money into the campaign.

IN THIS PHOTO: Googles profit/revenue from 2015

The Main Site

The initiative will have a homepage: which will be where each person goes to register. The campaign will be shared and spread to social media, but at the first point of contact, each person would start here.  Like Facebook and Twitter, registration is painless and quick: and a great way to connect with other users and like-minded people. The homepage will be well-designed and eye-catching. The top half will have various links: A-Z of Charities; Contact Details; Discussion Board; Events/Fundraisers; Latest Members; Links; Generated Profit so far.  The bottom half will be fun and interactive. Figures from music, film, T.V. and comedy past and present interacting with one another - they will be animated.

Registering

Each person will be asked to register simple details: name, D.O.B., location; campaigns; total raised and several others.  It will work a little like Facebook, where there is a profile page: it will be a simple process and contain plenty of information - although nothing too personal or revealing. From the registration page, there are links to social media - where you can easily promote your page/share your success.  When all the personal details/key details are entered, then comes the ‘fun part’. The Single Voice has the option of 8 different YouTube-based ‘initiatives’/ideas. Each new member is allowed to ‘sign-up’/choose five of the eight options.  For each initiative you will be selecting a different charity - I will go into more depth later. On the profile page will be your list of ‘initiatives’.  By each of your selections will be the total money you have raised; how many times your idea/entry has been shared- and how many times you have shared it. This charity campaign will run for a year- from its launch date- and your selected charities will get donations each month- at the end of each month; however much you have raised will be donated to them.

PHOTO CREDIT: Unsplash

Top-10 Songs

Like Desert Island Discs and Tracks of My Years, each user gets to choose their 10 favourite/most important songs.  There is an option- on each entry- for a user to commentate/explain why they have chosen what they have selected, but it is a great chance for the person to share their favourite songs.

New Music

This is an option that is a chance for new music to be heard.  A person can give the world a chance to discover new music/musicians.  If a new band/act has posted to YouTube, then their music can be shared.  There is a chance to select your ten favourite songs from new acts.

Music Videos

It is nice and simple: choose your favourite ten music videos.  Whether it is from a new band- or classic act- you get a chance to have a good think- what you consider to be the best of the breed.

Top-10…

The broadest option, this covers a multitude of music.  On this option there is a drop-down list: giving you a selection of options.  Includes is Decades- best music from ‘50s, ‘60s- all way to modern-day; Voices; Cover Versions; Guitar Riffs- up to 10 different selections.

Comedy

Whether it is a short clip- lasting a few seconds- or a full-length film/T.V. episode, this is comedy-orientated.  Whatever makes you laugh the most: get it uploaded!  I shall expand on this more- and what I would select- but you can choose a stand-up show; an episode of The Simpsons- or a comedic home-made video/prank.

Drama/film

Again, whether it is an episode of Breaking Bad- if they are allowed on YouTube- or a short film, this is the chance to get it shared.

PHOTO CREDIT: Unsplash

Beyond Social Media

Of course, the point of the campaign is not to share music/film- just for the sake of it.  The idea is to raise money and awareness of causes and charities.  On the home page, you get a chance to share your ideas and videos- and raise money each time they get a ‘view.  When you select a charity- for each entry- there is an information button: this gives you huge information and links.  If you select Diabetes U.K., then you get to find out about the charity.  There are links to their website; how to get involved in the community; how to spot the signs of diabetes; ways to further becoming involved with the charity- runs, fundraisers, volunteering etc.  This will be the case for every charity.  It means that, not only does the user get to learn more about their chosen charities and causes; other people do too.  On the site’s main page, there is an A-Z of Charities: a full list of all charities; information, links and videos for each.

PHOTO CREDIT: Unsplash

In addition engaging people more with charities and causes; there is a hope it will lead to more community involvement.  There is a chance to ‘represent’/choose to support women’s rights, stamp out gun violence, support local communities and boroughs- causes not usually represented by the big fundraisers.  In addition to giving information about each, there are ways for you to get involved: get out onto the street and make a difference.  Raising money will be a huge and important part of the idea, but it is hoped that the government will take note- issues and campaigns will be highlighted; a chance to change law- change people’s lives and initiate social change.

Not only does one get to learn more about charities and causes- the main objective of the campaign- there is a secondary bonus’.  Each time you compile a list; there is a chance to benefit others.  Say you have selected Top 10 Songs.  After you have selected each track, there will be a link on each video/selection.  Song and album information is provided; links to other similar acts; ways to record your own music/become a musician.  In terms of new music, there is a chance to help new musicians- links to campaigns; ways to share their music and causes; find great new acts; support local venues and festivals- ways to bring about equality and change for musicians.  The same goes for film and music videos: ways to become a director/actor; local schools and campaigns; links to similar films/videos; local schemes; ways to support other charities and causes etc.

Going Forward

At the moment there is the idea and determination: without contracts being signed; sites being designed- the big guns being involved.  Of course, it is not going to be as simple as it should be- celebrities and huge companies are as apathetic as they come- so will take a lot of effort and campaigning.  The point of this blog/the early stages is to gauge opinion: would people take part?  Would it interest people?  Could this work?  For each entry people select from the list you have to donate a small sum yourself- rather than relying on others- but this should not put people off- it is a chance to engage and unite social media; represent all charities; try to make some genuine change.  The rest of this year- in terms of this campaign- will be to get people talking; get names involved- contact YouTube and Google- and get them saying ‘yes’.  I want to launch this within a year- it sounds a long way off but will take a lot of work.  Above all, it will rely on people getting involved: I want it to be a lot bigger than the Ice Bucket Challenge.  It is a golden opportunity to raise millions and more for a lot of causes; raise awareness of various issues- get people involved- on the street; in the community etc.

The Website

Home page:

www.thesinglevoice.com

The bottom half would be interactive and animated: music figures would interact in a variety of locations: from Abbey Road to Reading Festival; to a recording studio and around London.  There would be music and video player that can be accessed- linked to YouTube, SoundCloud etc. – and the locations would be around the world.  The entire homepage is designed like a vinyl and has a record design; the front would be the animated figures and site name- the back would be the options and information; opening like a vinyl sleeve.

PHOTO CREDIT: Pixabay

Menu/'Track-Listing’

There would be eleven different options; each would expand/open like a song.  The options/’tracks’ are as follows:

SIDE ONE:

1.       Track One: Register

The user would sign-up-like a social media site- and be able to have full access to the site.

2.       Track Two: About/Contact; Guided Tour

3.       Track Three: A-Z of Charities and How You Can Support Them

A list of every charity around the world- from local causes to international names- that you can raise money for

4.       Track Four: Social Media

A bespoke social media site that the emphasis on charity and music: the connection between the two and engaging users to become more involved in the community.

IN THIS PHOTO: The hope is to turn platforms like Facebook into a more coniencious and less egotistic platform/PHOTO CREDIT: John Holcroft

5.       Track Five: Creative Zone

This would pull together everything within Psychoacoustics:

This will be expanded, too.  Not only will there be a spoke music zone; there will be a similar ‘creative one’ for directors- film, T.V. and music video- and actors; in addition, there would be one for comedians, comedy writers and YouTube stars

6.       Track Six: This Year’s Initiative

The Single Voice initiative detailed at the top of this post.  This would launch the charity

PHOTO CREDIT: Pixabay

SIDE TWO:

7.       Track Seven: Local; Sites, Music and Points of Interest.

It would allow you to programme your town/city.  If you lived in London for instance, you would be able to find all charities in your area; the music sites and venues- in addition to points of interest.  It would work with Google to create a bespoke search engine that would allow the user to be productive and engaged in the community.

8.       Track Eight: Connected: Tools for Musicians, Fans, Lovers and Labels; Writers to Charities and Organisations

This is a list of contacts and websites; connections and tools that allow charities to connect with musicians and the public; creatives to link-up with the right people- essentially, a LinkedIn-style site.

9.       Track Nine: Listening Zone: Video and Media Player

Here, we have a huge library of music and video.  Bonding with YouTube, there is a defined and organised library of music, film and T.V.: One that is broken-down into sections and genres; decades and time periods- allowing listeners to discover new music and film.

PHOTO CREDIT: Unsplash

10.   Track Ten: Psychoacoustics

This is the bespoke shopping site- working with the likes of Apple, Amazon and Samsung- that would not only sell music, D.V.D.s and vinyl; it would sell apps. And subscriptions; instruments and tickets- all under the one site.

11.   Track Eleven: Search/Archives

This allows the user to search through the music; film, T.V. archives: discover lost gems and album covers; information and interviews etc.

Fundraising

There are so many great charities and people raising money every day.  Through social media and life, we see posts of people competing events: Running, walking and enduring for charity; doing something amazing.  One of the issues is that social media relies on sharing- in order to increase fundraising and awareness- a lot of time people can’t afford to donate a lot.  By engaging big businesses- see below- and utiilsing music and the creative arts; it allows for bigger fundraising; tying charities and people together- from all around the world.  The website lists all charities in the world; those that are both local and international.  The charity aims to proffer and promote all charities; put them under one umbrella- unite social media and posts to ensure that greater awareness is raised.  When users sign to the charity- and create an account- they can download music and support artists; discover great music and help musicians- earning points and rewards as they go along.  When they reach certain targets, they can cash-in these points; donate them to causes- the ability to raise thousands of pounds in a very short space.   It is not just reserved to charities and causes, either.  There is an opportunity to raise funds and money for bands and artists.  The artists themselves cannot raise funds, yet others can donate to bands and their recordings; filmmakers and projects- tying-in the likes of Pledge Music and Kickstarter.

Creativity

The charity/fundraising elements will all come together in more detail- as the charity is set-up and developed; the full details and plans will be explained- but there is another element to the charity.  Through the bespoke tools and links, it encourages users and people to take up and create music; become engaged in filmmaking and television- this is where the likes of Microsoft, Samsung and Apple will come into the fold.  The companies would not only assist with designing the bespoke tools and sites; they would gain revenue and profit: In turn, they would be funding some of the world’s most innovative and well-designed music/creative tools.

PHOTO CREDIT: Unsplash

Awareness

One of The Single Voice’s assets is the way it connects people around the world.  The charity looks at the user and tailors it around them.  If you suffer from an illness or disease, it not only puts you in touch with those who can help- giving information and advice; making sure the social media side of things gets people connected.  Every day we hear of new ills and issues- from gun violence to discrimination against transgenderism; animal cruelty and natural disasters- yet we feel helpless.  The charity puts these issues at the forefront: It mobilises people to tackle the issues; gets people working to fight discrimination- raise money and support quick, so we can stamp out these inequities and problems.  Issues like mental illness or still stigmatised; homelessness and social poverty is rife.  The charity aims to put them into the spotlight: Change ways of thinking and help bring about progression and discussion.

How Big Businesses Can Help

The biggest tech and business giants make enormous profits.  Every second it is estimated Samsung makes $6,000 revenue.  The likes of Google and Apple are not far off.  Of course this is earned and deserved to an extent- they provide services we all need and use- yet think about how much they earn a year?  I have seen reports where some of those companies are unsure what to do: They have so much money but nowhere to put it.  Whilst they are developing multi-million dollar headquarters and facilities; it seems there is a lot of money that could be better used- a tiny amount of their yearly profit.  This is why The Single Voice is so important to me.  It is not a Robin Hood Effect- taking from rich and giving to the poor- as each company will be earning extra revenue/partnering with the charity: It is taking a tiny percentage of their revenue; giving it to some wonderful causes/charities- helping to fit big issues and social ills.  With such extravagant and unfathomable profits pouring in; there needs to be a better and fairer balance: Ensuring the organisations are charity-conscious as they can be.  I am not suggesting they hand over, say 1%, of their profits a year: They are getting increased advertising and business; they will see their custom rise- it is a win-win, give-and-take situation.  As it stands, the charity that is an idea and a seed: It needs the investing waters of businesses to get it off the line- and to nourish and help it grow.  Without them it will take a long time to happen: It is advantageous a working bond is created as soon as possible.  There is no real downside to either: The big companies- such as Apple and Microsoft- rarely work closely together; there is a sense of rivalry and competiveness- this is a way of bringing them together- without denting their business profits and market edges.

The Bottom Line

This is a charity I feel needs to happen: With every passing day there seems to be bigger gaps- between people and countries- big topics that are being hidden- too many people suffering silently.  Money-raising is only part of the solution: Awareness and social activation needs to occur; governments and bodies need to be on board- it will take time to happen.  The first step is seeing what people think; getting it going- getting those big names on board.  There is more and more music created each day; most people on the planet love/have an opinion on music- using this to make money and help people seems icily logical and sensible.  There is a lot of big business profits coming out; a lot of compartmentalisation and social disconnectedness: Unifying and remedying this would counteract these points. 

IN THIS PHOTO: Jameela Jamil who, I feel, would be a perfect Ambassador

I am in the process of mailing companies- the likes of Samsung, Google, Apple etc.- and some big names- I hope the likes of Emilia Clarke, Jameela Jamil and Stephen Fry will back the charity- to get this thing going. Whilst there are a lot of words here (even for me!) the facts are this: Music and the arts is an easy and fun way of fundraising; we all need a little help and awareness; too many people are suffering needlessly- we all want this to change.  The Single Voice is not so much its own charity- raising for one specific cause- but a way of housing and promoting every charity there is- whilst encouraging creativity and social interaction; tackling issues our government is not.  In a way, it is a political party we can all get on board with - no false promises and crooked smiles- just a charity we can all support.

IN THIS PHOTO: Stephen Fry; another ideal candidate to support the charity

I hope my writing and grammar/punctuation has improved since then but I wanted to reinvestigate an update a concept I have shown to a few celebrities. Jameela Jamil, when I wrote to her, liked the idea – as did Stephen Fry. I want a lot of musicians to lend themselves to ambassadorial roles (including Björk) and ensure there is a constant sense of reaction and engagement. The charity/movement would incorporate all the concerns I laid out at the top: it would integrate the original premise/pitch and would widen the scope of ambassadors and functionality. The website would raise money but get people talking and issues highlighted.

PHOTO CREDIT: Unsplash

Musicians would perform around the world and films made – a chance to expand beyond music and get creatives involved. It may sound jumbled by the same passion exists in me – my sight and intensity have not waned in the past two years. The initiatives and components of the website might change but there is that intrinsic desire to create an all-for-one, common-voice for the masses that have no political barriers and divisions. It is a need to change things in the world and bring us all together. I am unhappy with the separation and fear that permeates every issue of every society. I am not saying The Single Voice is going to radically improve the world but it is a chance for each person that wants to see change, through music and the creative arts, to have their say and…

PHOTO CREDIT: Unsplash

HELP make a real difference.

FEATURE: Music Videos and the Art of Expression

FEATURE:

IN THIS PHOTO: The heroine in the video for Beck's Up All Night 

 Music Videos and the Art of Expression

________

THIS sounds like a rather grand title for something...

IN THIS PHOTO: Jay-Z who, in his video for The Story of O.J., created one of the most talked-about videos of this year

that is, in essence, a look at music videos and their importance in the current market. The music video has always been a pivotal and interlinked part of the marketing process. I have been watching videos on YouTube and unfortunately, as one is suspect to, there have been annoying promotional adverts (by Vevo) where various no-name artists talk about their music – and how important videos are to them. It made me wonder how modern artists use music videos and whether they see them as promotional tools – or they are a chance for creative expression and the chance to make something extraordinary. Newer artists don’t get the same chance/budget to film a video of epic scope and concept. Those kinds of dreams are reserved to the elite and wealthy of the mainstream. I do wonder if videos are a part of the process many stars feel weariness towards.

We have all seen recent videos by Taylor Swift, for example, absorb enormous numbers on YouTube. Her single, Look What You Made Me Do, was much-anticipated and, although it is not up to her best days, its build-up, fall-out and video put the song under the microscope. The video is full of symbolism and there are a lot of ‘what-ifs’ and ‘who-is-that-about’ visuals. It is a piece that, whilst hardly a visual feast, provoked a lot of interpretations and possibilities. I am surprised the video got as many views as it did. The views are into the hundreds-of-millions and it has been a huge triumph. I know YouTube videos that have surpassed two-billion and that is a rather eye-watering thing to behold. Swift’s recent video is as much about the existing fanbase and gap since her last release. If one looks at the quality and memorability of the video – you are not going to be talking about scene and shots days after seeing it. Returning to the Vevo/YouTube promotions and those artists – their names escape me! – chatted about how videos, to them, is about personalisation and bespoke films. It allows them a chance to express themselves and connect with their fans.

PHOTO CREDIT: Unsplash

In my mind, the music video is as important now as it ever was. The days of MTV have gone – or when it was considered ground-breaking and the go-to show for artists – as music T.V. does not have the same cachet and sheen as past years. I have written pieces about sexual exploitation and whether videos are being used to flaunt sexuality in order to get an artist trending. There is cynicism with a lot of videos that means they are used as weapons to utilise sexuality and feminism to shift units and get an artist into focus. That might sound cynical but there are those who freely admit it. To me, the most powerful and worthy videos fall into two camps. There are those that promote feminism and positive sexualisation – artists who display sexual freedom and promote a powerful and inspiring message. The other relates to the sheer memorability of a video. Whether it is funny or complicated: plainly simple or possessed of a U.S.P. – those are the videos that ensure through the years.

I fear those artists I saw on YouTube are no in the mind because their videos are quite generic and formulaic. One of the videos that has really stuck in the mind the past few weeks is Beck’s Up All Night. It follows an armoured heroine who drives in a modified Batmobile-type car as a ‘party vigilante’: scolding those who exploit passed-out revellers and try to take advantage. Her stern gaze repeals the worst high-jinx and her metallic clothing magnetically sucks keys and phones to her bodies – so people do not make foolish, ill-judged calls or drive home when well over the limit. It is a brilliant and simple concept that provides wonderfully rich scenes, comedy, pathos and filmic ingenuity – it could be made into a short-film, one feels. It is a brilliant video that matches the song’s lyrics and sticks in the mind long after it has finished. Other great videos this year are from Lana Del Rey and Kendrick Lamar.

The former, for Love, sees Del Rey singing as images are projected onto the screen. Kids get into cars, getting dressed and smiling. There are attractive beach-dwellers in sunglasses and a 1950s’-type family driving. It is a mix of nostalgic and modern that is another luscious and image-rich video. Kendrick Lamar’s HUMBLE. It is rife with symbolism and viral-worthy moments – the golf swing and burning heads; the re-enactment of The Last Supper and epic church scenes. It relies on a big budget and a lot of creative license. Few artists have the pockets and teams to be able to realise a video as stunning and ambitious as HUMBLE. Appropriately ironic in its posturing and scale: a fantastic video that will not escape the brain anytime soon. An history of music videos shows you one does not need a big budget to get into the consciousness. It is interesting arguing whether that is the case now. As much as I love underground artists and their music: the more money one has; the greater the opportunities when it comes to videos. A couple more mainstream videos have really resounded and resonated this year. Lorde brought the long-awaited Green Light earlier in the year. There was so much fever and build around that song.

The video arrived and instantly made an impact. It is not as grand in concept – compared with Kendrick Lamar – but it relies on a sense of triumph and confident imagery. The heroine barely smiles throughout but, whether skipping the street or hanging out of a car window – she is commanding, compelling and completely free. Haim’s Right Now saw its video directed by the legendary Paul Thomas Anderson. It sees the girls in the studio as they call up their mum's old student as he comes by and says "Why don't I just record a video right now?". Anderson shot the video in a single take – or near-as-dammit – and captures the girls perfectly. Their parts and performances are given gorgeous treatment as we get a glimpse into the recording process – based on a wonderful premise and backstory.

Kesha’s Praying, like Taylor Swift's video, gained a lot of success because of its sense of reaction and build. Following the court case with Dr. Luke and the attention that case gained; it was inevitable a video whose song addresses the turmoil and torment Kesha went through – it was always going to be huge and get into the forefront. Regardless of whether an artist has a big reputation or budget: a great video can arrive from any direction. The ones I have mentioned – aside from Kesha and Swift, perhaps – have succeeded because of their concepts and creativity. It shows even the bigger artists are not ignoring the importance of videos and making a statement. One can argue the fact these videos got big is because of the millions that support the artists. I am not interested in popularity and streaming figures – more the quality and role videos play in these times. Charli XCX’s Boys saw, um…boys doing various things.

These were no ordinary boys: these were big celebrities in rare and unfamiliar settings. Showing Pop music can have a sense of fun and playfulness – we see Joe Jonas with a milk moustache; Stormzy eating cereal and Mac DeMarco licking a guitar (as one does). It has sexy images and comedic moments; a lovable and fun-loving charm that subverted expectations one would have had. Rather than cavort with boys and create a sexual and sweaty video: Charli XCX went for something more creative, intelligent and wise. It got huge figures but, more than that, showed one does not need to sell videos through sex and easy routes - big artists do not need to have enormous concepts and budgets to make a celebrated video.

IN THIS PHOTO: A shot from the video for Charli XCX's Boys

There are so many great videos from underground artists – it would be a Herculean feat naming them and finding the best. To mainstream artists; they always need to make a video in order to make their songs more visible – it is part of the marketing route and one cannot release a song without making a video (unless you want it to pass people by). I am always against those videos that go for the sex angle: artists exploiting their assets to get the YouTube roof bursting. It is rather cheap and raises questions about morality and ethics. I wonder whether artists like Taylor Swift, in a video so symbol-heavy, has the right approach. If one wants an innocent and stunningly unexpected video this year go to Jay-Z’s The Story of O.J. I feel Swift could have learned something from that video – it is a Disney-esque/Mickey Mouse animation that adds new spin and angles to a fascinating artist. Look What You Made Me Do is all about symbols, controversy and enigmas.

Nobody remembered the storyline (if there was one) and it seems like the exercise was a chance to get people speculating and gossiping. I admire those big artists that do something inspiring and important with a video. Those who want to connect with fans and promote something positive should be applauded. Regardless of how much money their teams have: something simple and honest can do a lot more than a multi-million-dollar visual extravaganza. It is wonderful seeing a blend of Kendrick Lamar grandeur and a more modest Jay-Z film. We do not leer MTV and tune in for the big video of the week. We have sites like YouTube so are less reliant on T.V. for providing visuals in music. I wonder whether the sheer volume of music videos out there makes it harder to decipher the best – there are so many treasures waiting to be discovered.

This applies more to the newer artists who have a choice regarding music videos: they do not need to release one and it can often cost too much to even consider. I sympathise with them and hope, one day, more money is reserved for new artists who want to release a video. Most make do with a modest budget but you can get some really incredible examples coming through. They do not get the same views and attention as the mainstream stars but, in many ways, finer work is being created in the underground. Videos are a massively important way of showcasing an artist and allowing them license to create something magic. I would love to see a music channel – on YouTube or elsewhere – reserved for new artists and their videos. Every time I do a review/interview, and there is a video attached, I am amazed by the dexterity, resourcefulness and imagination of our best artists.

Many only have a few-hundred-quid and have to stretch that budget to a number of different people. It is getting easier and easier to stream a video but harder to get them made in the first place. Many yearn to have the same opportunity as the mainstream artists. All the acts I feature love videos and that chance to add a visual dynamic to their art. Many people write songs a certain way because they imagine a video in their head. One cannot write a song without imagining it and seeing how it will come to life. Even if you are a newcomer and on your first album; there is still the chance to do something incredible and striking. I will leave this piece and, as this year has (already) seen so many senses-striking videos – from the big and humble – it shows how much importance is placed on that side of the industry.

PHOTO CREDIT: Unsplash

Whether you see videos as a way of cynically marketing and engaging in popularity contests – one cannot deny how inspiring a wonderful video can be. I know the best of the underground can, with the right backing, conceive and create videos that endure for years to come. I think there is a division in the mainstream between those who are unconcerned with trending – and release videos that are there to amaze and compel – and those more concerned with grabbing headlines. That is always going to be the way but, whatever the motives, the video is as important (if not, more so) than it has ever been. I feel, although they don’t need to, many new artists realise how important platforms like YouTube are. Journalists and fans are attracted to songs because of videos, to a large extent.

I love to see a video as it embodies the story and emotions of the song – allowing the listener to appreciate the song in a new light. Because of this; I hope more subsidy and expenditure goes the way of new music. Anyone who questions whether videos have validity or worth should look at the incredible array out there right now. In a lot of cases; a video can be more memorable and celebrated than the song it accompanies. I love the medium and think, if new artists had the ability to make more ambitious videos, they would ascend to the mainstream a lot quicker. Whether it is a reactionary video or one loaded with symbolism; a comedic piece or one that engages the brain; one cannot deny the music video…

PLAYS a vital role in the music industry.

FEATURE: F*ck That! Is Censorship in Music Completely Necessary?

FEATURE:

 

F*ck That! 

 Is Censorship in Music Completely Necessary?

________

MY enjoyment of music is being sullied…

by this generation’s fear of anything honest and direct. It may seem odd to condone all censorship in music but I feel we are being too rigid and puritanical. Everyone today has exposure to bad language and controversy. The world is consensual and unfiltered. There is no way to shield the ears and imagination of those young and vulnerable. I understand why some songs need editing: homophobic and racist language, often heard in Hip-Hop, should not be allowed through the airwaves. There is a thin line between offensive and rude. There should be reasoned debate because, in order to get on the radio, so many artists either can anything mildly offensive – fearing mainstream radio will filter their songs out or edit them to the point of mutilation. That is how it sounds when music is edited so strongly: you get lots of gaps and it takes away the flow and reality of the piece. As I said; I can see reason and logic when it comes to offense. I am a big fan of Hip-Hop and Rap but know a lot of its artists (not all of them) perpetuate sexist ideals that seem natural to the culture – woven into the fabric of the genre so its artists are desensitised and immune to its toxicity. I wrote a piece about Eminem a couple of months ago in relation to his phenomenal record, The Marshall Mathers LP.

IN THIS PHOTO: Eminem (photographed in 2000)

The album received incredible praise upon its release back in 2000. One of the reasons some critics were left sour by the record was because of its misogynistic, homophobic and provocative language. One can argue Eminem is an artist imbued with enough genius and purpose – one should not sweat the odd off-the-cuff remark or acidic moment. The fact of the matter with the album is this: it is rife with offense, explicitness and vile. I am a huge fan of the album but do feel the homophobic nature of the songs – not all of them but many – does not represent who Marshall Mathers III is and what he talks about in his personal life. The same can be said regarding violence towards women and the misogyny one hears in many numbers – a man who is not prone to domestic violence and anything like that. Eminem is, as we hear in interviews, quite modest, shy and loveable. One hears no malice and he is an artist, one imagines, loosens morals to shock and get people reacting – rather than believing what he puts on the page.

PHOTO CREDIT: Unsplash

The same way the troublemakers at school would rebel and create conflict: they are doing it for show and to get noticed; take them away from that environment and they are very different people. I can do not defend or condone the contents of the album – when it comes to racism, sexism and homophobia. The fact The Marshall Mathers LP is a fantastically intelligent and accomplished work is a testament to the phenomenal wordplay and commanding performances throughout. How does one reconcile and adjudicate the debate between talent and controversy?! I love the album (and Eminem) but feel he is someone who walks a dangerous line between off-putting and encapsulating. Recently, after his performances at Leeds and Reading; he whipped the crowd up in an anti-Trump shout – getting them to flip off the President; Eminem used his set to tirade against Trump and his governance. That, to me, is a good use of language and offense – rebelling and protesting against tyranny and allowing that crudeness to articulate an aggression and anger that straight, more refined language cannot articulate. I use Eminem as an example as his songs, as you’d expect, are heavily redacted – few manage to get regular play on the airwaves.

PHOTO CREDIT: John Gress/Getty Images

I do worry we are being over-protective and hysterical when it comes to artists. Any slightly mild language gets edited and erased: even the merest suggestion of a bad word get cut before you hear it. In spite of that; there are plenty of songs that are sexually suggestive and lurid. Why do we feel it is okay to allow sexual language and intimations to slip through?! Is swearing a lot worse than talking about sex and chasing girls/boys? People do not sit down and discuss what is classed as genuinely unacceptable – or that which is deemed offensive to a small sector. I find no rationale for including any racist or homophobic language in ANY song. I understand, in some ways, racist language is part of certain genres. Is it okay for a black artist to use the N-word? Is it okay for a radio station to broadcast it? Those are different debates: I agree with the first statement (to an extent) but disagree with the latter.

It is a lot more acceptable for a black artist to use the N-word than other person but does that mean we should allow them to get onto radio unedited – and white artists, who use the same word, being censored?! If a gay artist used homophobic language than we would not allow that to make its way onto the airwaves – there cannot be any exceptions and loopholes in these areas. We are a modern and progressive society and feel we should not be so rigid when it comes to language. I get fed up hearing so many songs with pauses in them. A lot of times word like ‘crap’ are removed – if we have a scale and gradation of explicit language; where does ‘crap’ fall on the scale? Radio can be heard by anyone at any time. We can pick up albums with explicit content and play them to anyone. There are no age-limits when it comes to selling C.D.s – or, people are not enforcing them if there is. We can sell a Hip-Hop album to a child and they can experience a torrid of foul language and terrible messages.

Why, then, do we allow the same songs no freedom when they are on the radio – a platform where the same child can listen to the same song; only without all the language and explicitness they heard before. I was reading an article about Hip-Hop/Rap and artists re-recording songs so they are deemed radio-friendly and safe. Looking at the piece and some interesting points emerge:

“LISTENING to rap radio is often like reading a declassified government document in which thick black lines obscure the most tantalizing parts. Except that instead of black marker, rap singles are doctored for the public with sound-effects CD's. Gunshots, sirens, car screeches, turntable scratching and lyrics played backward conceal words deemed dirty, derogatory or harmful to minors. Some songs, especially ones with obscene words as their chorus, become so bowdlerized that their meaning is no longer even fathomable on the radio.

But recently, certain rappers have made it their duty to go back into the studio and rap extensive new lyrics to a song being considered for airplay. In one extreme example, Eminem takes ''My Fault,'' a song about fatally overdosing a girl with psychedelic mushrooms, and makes it PG by rapping instead about how he slipped normal, everyday mushrooms onto his friend's pizza, triggering an allergic reaction.

PHOTO CREDIT: Unsplash

Typically, the notion of artists changing their music to please the prudish and commercial elements of society is odious to critics, but in the case of several recent singles, the editing has actually improved the song. In a pop landscape in which the crude come-on has replaced the sly innuendo, some remakes are bringing a touch of subtlety back to urban music”.

That piece was written in 2000 – the same time Eminem was alienating a lot of media types with his album The Marshall Mathers LP – and one wonders whether things have got any better? More recently, in 2014, another piece added a new dimension:

“Music censorship has a long history. As early as 1940 George Formby had his song “When I’m Cleaning Windows” banned due to its alleged smutty lyrics!!! The Sex Pistols infamous Jubilee punk anthem ‘God Save The Queen’ suffered a similar fate, and one of my favourite anarcho-punk bands Crass, had to suffer the indignity of a record pressing plant refusing to press  the song, "Reality Asylum", accusing Crass of blasphemy. Instead, they had on the record a blank space with silence in its place, which Crass humorously dubbed "The sound of Free Speech" in protest.

More recently fewer songs are getting outright bans, however the BBC, and similarly the USA radio network Clear Channel, also deemed some songs inappropriate for airplay during the Gulf War such as “War” by Edwin Starr, “Give Peace A Chance” by the Plastic Ono Band and “(I Just) Died in Your Arms” by the Cutting Crew-which in my humble opinion should be banned outright for just being plain awful.

 IN THIS PHOTO: Sex Pistols

However the ‘alteration’ of lyrical content to enable airplay, or ‘radio edit’ versions is becoming more commonplace as artists strive to express themselves more freely whilst their record labels try to maximise airplay by remaining within broadcasting guidelines. Of course with the availability of music online, either as downloads or streams, censorship is now losing some of its bite as listeners are freely able to source ‘explicit’ versions of popular songs”.

It is interesting posing a straight question: Should we allow censorship in music? Many would say we shouldn’t: everyone has a choice to listen to what music they want and do not have to subject themselves to anything distasteful and ‘adult’. I mentioned how we, in the streets and homes, are open and free to swear and say what we like. How is that kind of permissiveness fine and healthy for a child, for instance?!

PHOTO CREDIT: William Matthews Photography

Many parents swear around their children and take them through streets where one might hear awful expressions, violence and sex – that might be a rough area but one can see some rather risqué and sworded sight if you are on certain streets at a particular time. Do we wrap children in cotton wool and shield their eyes and ears?! No, of course not, as that is ridiculous nannying and hysteria. The government is busy doing that so it should not be down to broadcasters to deem what is acceptable. I listen to BBC Radio 6 Music daily and find a lot of new songs are censored really heavily. Artists, in a bid to be accepted, popular and radio-worthy are dumbing—up their music and carefully picking their words – so their song can remain virginal and unspoiled when it gets to a D.J. I do get annoyed hearing a song with many gaps. You know that is their way of bleeping the swearing out but I know what the words are! We all know what is being said so what is the point of removing them?!

I think we have become less hysterical and overreacting when it comes to censorship. I remember a time when a ‘Weird Al’ Yankovic song was edited/banned on MTV because it name-checked banned streaming/downloading platforms. Sex Pistols and other Punk bands of the time were barred because of their anti-establishment rhetoric. More recently, artists have been censored because of the rather mild language on their albums. The braggadocio and womanising rituals one hears spat and boasted by many male Hip-Hop stars, apparently, is more acceptable than someone saying the S-word a few times.

PHOTO CREDIT: Juneberg Weddings

I agree we should have barriers to prevent homophobia and racism reaching people’s ears but, actually, that is only for radio consumption. One can never (nor should) tell an artist what they can say and how far they can push themselves. If we start limiting expression and speech we are impinging a human right. By the same token; one should not indulge hatred and vile sentiments. That might seem like a contradictory standpoint but, when it comes to radio-play, I agree listeners of a younger disposition should not be vulnerable to that kind of extreme language. Play those songs later in the day but why do we need to be so strict when it comes to language?! A lot of artists, knowing sexual expression and innuendo is less immune to censorship than bad language, are upping that side of things in a bid to express themselves through sex – that bad language manifests itself in something a lot more controversial. It is good to see artists reacting this way and finding ways to circumvent censors. Should we arrive at a time when the big acts have to do this I wonder? There should be no limits or boundaries for artists at all. If they do release a song/album that causes controversy then that is on their own head. Eminem, in 2000, was a subject of derision and accusation.

Many saw him as the worst kind of musician; a villain who was trying to corrupt the impressionable. He was, in actuality, verbalising cultural and pre-existing traditions countless artists projected before him. The fact his celebrity was on the rise was the reason he was targeted and criminalised. Hip-Hop artists are those recidivist characters who say exactly what they want to. They should be allowed to write about anything but people do not have to love certain aspects of their music – homophobia is something that needs eradicating. There is a school of thought that argues those who hear artists swear, use disparaging expression and perpetrate causal sexism are setting bad examples. Everyone has their own mind and should not be guarded and monitored. There are worse things in the world and if we castigate musicians for expressing themselves it damages the threads of music and undermines its power. Music is an immense platform that can bring about change and inspire generations. Part of that is the freedom to say what you should and put a bit of spice into the music. If artists can talk about sex and violence; if they can brag about shootings and blaspheme – why is swearing the enemy of the radio bastions?!

I should end this argument soon but think a lot of the problem lies in other areas of the industry. Consider T.V. and film, for example. Swearing is a lot less rigidly policed than sex, for example. There is nothing offensive about sex but it is seen as more corrupting and provocative than bad language. I watch sex scenes that see the parties disrobe slightly and, someone, have sex in underwear and layers of bedding. They usually get through with things in a matter of seconds without any nipples, genitalia or organismic moaning being revealed to the audience. Even if there is a suggestion people are naked and fully committed – when you see them in the morning, they are either clothed (or underwear, at least) or wrap themselves in sheets! How unrealistic and stupid is that?! There are a lot of syndicated shows, even The Simpsons, where a minor bit of swearing or explicitness if cut. One sees entire scenes removed and the show butchered. It is happening in music and it is completely unnecessary. I am not suggesting we allow the F-word to freely flow through the daytime schedules: I am arguing we should be less rigid and show some common sense and understanding.

One can look back at the ridiculous days of Mary Whitehouse and how insane the censors were. That is still happening now – to a lesser degree – and it is stopping artists fully expressing themselves. Swearing is all around us and, while it something that should not be encouraged to breed unnecessarily, we cannot ostracise and eviscerate those who indulge that habit. We are all human and responsible for our own minds and voices. That is true of music so I wonder why we still ruthlessly and obsessively censor music in such a regimental fashion?! The argument about censorship is not binary, by any extension of reason. In terms of what we hear on the radio, of course, we need to judge things on a case-by-case basis. I agree Eminem is an artist whose music needs to be heard a lot more – his peers and many like him find few stations who play their music. Artists who rely on certain times of day to get exposure are angry and aggrieved. A daytime show should not play a song like Kim or The Way I Am (The Marshall Mathers LP) unedited. That said; why is every suggestion of swearing removed?! It is a tiresome fallacy that needs to be removed from its cloistered environs and shown the unfiltered reality of the modern world. We are less stringent about political censorship because artists do not write about it so much. How successful and likely would a Punk movement be if we took every song by The Clash, Sex Pistols, Ramones and took our all the edgy and anti-establishment messages?!

IN THIS PHOTO: Mary Whitehouse

Music needs to address a lot of issues and problems: censorship is right near the top. The same way the lack of working-class journalists and musicians exist – to show the country the realities of a less-privileged society – censoring an artist so candidly is turning music into a scholastic and overly-disciplined forum – it should be Socratic and rational (with a leaning towards the liberal and accepting). Censors and the music industry cannot reasonably edit music and think issues like sexism and racism do not exist in music. Those are big concerns but not being tackled as energetically and persistently as censorship. I think we have become more tolerant and less parental but still lack the perspicacity and reasoning to work pragmatically. There are, however, areas of society where the spicier and more human elements of the human psyche are allowed to fly unharnessed and without surveillance. An interesting article by Rockandrolljunkie.com looked at some older examples where censorship reached extremes - words and phrases being misheard and misconstrued:

"When the Taylor Swift song “Picture to Burn” first hit airwaves, some radio stations changed the line, “That’s fine, I’ll tell mine that you’re gay” to, “That’s fine, you won’t mind if I say”.

In Tom Petty’s “You Don’t Know How It Feels”, the line usually censored from airplay is “Let’s roll another joint”. In MTV’s airings and on many radio stations, the word “joint” was reversed, obscuring it.

In 2009, Britney Spears’ single “If U Seek Amy” sparked controversy in the United States due to the implications of the title. When sung fast, as Spears does in the song, the words “if you seek Amy” appear to spell out F-U-C-K me. The song was censored in the United States and retitled as “If U See Amy”, removing the “k” from “Seek”. However, the song went uncensored in most other nations. In the United Kingdom, the song was retitled “Amy” in which the chorus and bridge lyrics are mostly removed or replaced. This is the version that has been played on BBC Radio 1 and most other radio stations in England.

IN THIS PHOTO: Britney Spears in 2009

In many songs, the word “ass” is usually censored when it is used as an insult or sexually, usually by distorting the word, or silencing part or the whole word. The word “asshole” is usually completely censored, but sometimes, only “ass” is censored, while “hole” is not.

The word “crap” is usually censored in songs, like in the clean version of “Hip Hop is Dead” by Nas featuring will.i.am. When the word “sex” is used in a sexual way, it might be censored; exceptions include rapper 50 Cent’s “In da Club” and Ed Sheeran’s Don’t (in which the entire first line of the chorus is removed). The word “pissed” would not be censored if used in a way meaning “angry”, like in Papa Roach’s “Scars”, Lloyd Banks’ “Hands Up” and Lil’ Kim’s “Lighters Up”, but censored if used in a way meaning “urinating”, which is also on “Lighters Up”.

In a time when we should encourage our artists to articulate their anger and discontent with less mediation and fearfulness, censorship is a parochial and unstructured matriarch that needs…

TO allow musicians to say whatever the hell they need to!

FEATURE: Walter Becker: Here’s to You, Sir…

FEATURE:

 

Walter Becker:

 Here’s to You, Sir…

________

MY promise of chirpier and more uplifting pieces…

IN THIS PHOTO: Walter Becker with Donald Fagen

has lasted a matter of hours. To be fair; few of us imagined we’d lose a music giant today. Steely Dan’s Walter Becker has died and, with it, left a huge hole in music. Social media is filling up with tributes and remembrances of a giant of the music world. I had to have my say for a number of reasons. I will come to those but Becker’s death is extra-poignant as Steely Dan has gigs lined up before the end of the year. I can only imagine how his Steely Dan brother Donald Fagen is feeling right now. Becker’s death, aged sixty-seven, is a shock to the world: few expect him to die at such a young age. Fagen has written a tribute already - claiming how smart he was and funny; a terrific songwriter and cynical human. Becker was due to perform at Steely Dan’s Classic East and West concerts but missed it – due to an unnamed and unspecified ailment. One assumes there is a connection – it will be interesting discovering what the illness was and why things deteriorated so soon. Becker and Fagen met one another and started collaborating as students at New York’s Bard College. From there, an instant bond was forged – they moved to L.A. in the 1970s and formed one of the most influential and spectacular acts in all of music. I think Steely Dan were due to play in the U.K. very soon - it would have been great to catch them - that was a ticket I was keen to get my hands on. It is weird knowing we will never get another album from Walter Becker. His death has not sunk in yet but the realisation he will make no more music is a hard thing to take. My exposure to Steely Dan was a chronological one.

PHOTO CREDIT: Chris Walter/WireImage/Getty Images

I discovered their debut album, Can’t Buy a Thrill, through my parents, when I was a child. That album, released in 1972, remains a Jazz-Pop masterpiece with so many different styles and wonderful moments. The line-up changed after the debut album but hearing David Palmer (who took lead vocals on Dirty Work and Brooklyn (Owes the Charmers Under Me) and Jim Hodder (an exceptional turn on Midnite Cruiser) is fascinating. The band, at that time, was more a collection of musicians finding their feet. To me, Steely Dan stood out and cemented when they released their second album, Countdown to Ecstasy. By then, David Palmer has been let go: the dynamic had changed and there was a more streamlined, focused unit. Songs (on Countdown to Ecstasy) like Show Biz Kids and My Old School are classic cuts – in no small part because of Walter Becker’s role. In fact; go back to Can’t Buy a Thrill and one hears the development and genius of Becker right through the album. Incredible bass-lines on songs like Do It Again and Reelin’ in the Years; the phenomenal command and inventiveness on Kings and Dirty Work - such a master of all he surveyed!

It was not only about the bass: harmonica and backing vocals were all part of Becker’s Can’t Buy a Thrill legacy. Becker said, in 1974, how uninterested he was with Jazz/Rock fusions – he felt that marriage was ponderous. Steely Dan played Rock & Roll with a swing. That desire for rush and energy was crystallised on albums like Countdown to Ecstasy and Pretzel Logic. That, in many people’s view, is the high-point of Steely Dan. To me, Pretzel Logic is the moment when everything fell together and became Steely Dan. The exceptional bass on Night by Night and Any Major Dude Will Tell You; the groove of Rikki Don’t Lose That Number and the eccentricity and delight of Charlie Freak – so much talent and variation from an incredible player. The bond Becker has with Donald Fagen meant every song was a display of the telepathic and telekinetic. I won’t go into the back-catalogue but it is worth mentioned the albums and moments that made Steely Dan one of the biggest and most important bands of the 1970s. Walter Becker often gets overlooked - as Donald Fagen took lead vocals and was at the front. All the songs were co-written by Becker and he was as essential and pivotal. Throughout the 1970s; Steely Dan created wonderful album-after-album – the cerebral and beautifully crafted Katy Lied (1975); the stunning moments of The Royal Scam (1976).

There were some who felt Steely Dan failed to evolve between those two albums but there was no need for giant leaps: they had reached a point where they were on fire and near the peak of their abilities. Becker, especially, growing in confidence and providing some of the finest bass-work on any album of the period. Aja, perhaps, represents the band at their most celebrated and flawless. The title-track is a sweeping, multi-part song that goes through stages and sweeps. It is mostly instrumental a fantastic odyssey from Steely Dan. Becker, as a central cog in the machine, provided so much fluidity, drama and beauty with his bass – able to direct the song but produce groove, rhythm and passion. Black Cow and Peg are funky and sassy: Becker, again, cool-as-a-cat and sensational throughout. For so many out there; Steely Dan can be defined by the exceptional masterpiece, Deacon Blues. From 1975, Steely Dan has surrounded themselves with a team of expert musicians and Becker assimilated more guitar duties. Becker and Fagen did not feel a large supply of musicians was an embarrassment. To them; they had options and were allowed to give full flight to their imaginations and ambitious songs. Without that crew of musicians, Deacon Blues would be a weaker song. It is, to me, the greatest song ever – Walter Becker is a huge reason for that assumption.

It is the moment music made sense and meant so much to me. I have been listening to it on-repeat today and finding new brilliance in the song. The sublime and titanic composition packs in so much. I imagine Walter Becker and Donald Fagen sitting in a Malibu apartment – where the song was conceived – and chatting about the composition and swapping lines. The song was written for an Alabama football team who called themselves ‘The Crimson Tide’. Steely Dan’s duo, finding this beyond pretentious, came up with their rejoinder: ‘Deacon Blues’ would be the name given the losers in the world. It is a wonderful idea and, from there, the song came to life. They have said how it was one of the easiest songs they ever wrote – and the fact they listened to it over and over again. It is an addictive and epic track that involves the listener and brings them into the music.

PHOTO CREDIT: Danny Clinch

I implore everyone to listen to the track and discover why is regarded as the band’s best song. Steely Dan would go on hiatus after their album, Gaucho – featuring the incredible Hey Nineteen and Babylon Sisters – in 1980. They returned in 2000 with Two Against Nature and followed that album with Everything Must Go (2003). The records did not represent the best days of Steely Dan but are solid and interesting listens. Walter Becker produced two solo albums: 11 Tracks of Whack (1994) and 2008’s Circus Money. Both were well-received by critics and showed he could stand on his own and still shine. It is a testament to a fantastic and adaptable musician whose supply of brilliance and nuance was not reserved for the albums of Steely Dan.

I was hoping for a new Steely Dan album and cannot believe a musician who played on Deacon Blues is not with us anymore. There are so many reasons why that song is the one that takes me somewhere special and safe. I love the drive and energy of My Old School; the experimentation and multi-genre-desires of Can’t Buy a Thrill: I love everything they ever produced. Walter Becker was, as Donald Fagen said, a hugely funny and cynical human. That wit and brilliance made their way into the lyrics and the compositions: an artist who was quick with a line but could provide myriad emotions and oblique sentiments through his bass and guitar. Becker and Fagen loved the fact Deacon Blues made its way into the public consciousness. It slipped through the cracks and, a song from two outsiders, getting into the collective bosom was a huge surprise – they were inducted into the Rock and Roll Hall of Fame in 2001 and used the opportunity to take questions from the crowd! It is sad knowing Walter Becker is gone from the world but his music and incredible legacy will never fade. He is one of the finest musicians we have been lucky enough to witness and to me. To his millions of fans out there; Walter Becker is someone who will always…

REMAIN in our hearts.

FEATURE: The Texan Ten: The Best New Acts from The Lone Star State

FEATURE:

 

The Texan Ten:

IN THIS PHOTO: The Suffers/PHOTO CREDIT: Greg Noire 

The Best New Acts from The Lone Star State

________

LIVING in the U.K. can be a blessing and a curse sometimes.

IN THIS PHOTO: White Label Analog/PHOTO CREDIT: Nicki Gell 

I am glad people here have not had to witness and experience the devastating floods that have ravaged Houston (and Texas) recently. My heart goes out to everyone affected in this difficult and unprecedented time. In honour of a wonderful state; I have collated ten of Texas’ finest new acts you need to get your ears around.  Among the impressive selection of artists we have Psychedelia, Country and Soul – from a good old-fashioned band to experimental clans; solo female artists and an incredible Punk band.

Ensure you check out all these artists and follow their music – fantastic examples of the type of music emerging from Texas right now. Everyone in the U.K. is sending out warmest wishes and affection to the people of Texas.

Take care of each other; keep making music and stay strong – you shall overcome!

_________

The Suffers

LOCATION: Houston

GENRE: Soul

FOLLOW: https://www.facebook.com/thesuffers/

Jackie Venson

LOCATION: Austin

GENRES: Indie; Blues

FOLLOW: http://jackievenson.com/

Frythm

LOCATION: El Paso

GENRE: Future-Beats

FOLLOW: https://www.facebook.com/frythm/

PHOTO CREDIT: Ryan Vestil/HRV Images

Calliope Musicals

LOCATION: Austin

GENRE: Art-Rock

FOLLOW: http://www.calliopemusicals.com/

Giant Kitty

LOCATION: Houston

GENRES: Punk; Alterative

FOLLOW: http://www.giantkitty.com/

White Label Analog

LOCATION: Austin

GENRES: Indie; Alternative-Rock

FOLLOW: http://www.whitelabelanalog.com/

Tele Novella

LOCATION: Austin

GENRE: Psych-Pop

FOLLOW: https://www.facebook.com/telenovellamusic/

BLSHS

LOCATION: Houston

GENRE: Synth-Pop

FOLLOW: https://www.facebook.com/BLSHSmusic/

Golden Dawn Arkestra

LOCATION: Austin

GENRE: Alternative

FOLLOW: http://www.goldendawnarkestra.com/

John Baumann

LOCATION: Austin

GENRE: Alt-Country

FOLLOW: https://www.facebook.com/JEBtunes/